Odds, the Canadian pop band formed in 1987 in the vibrant musical scene of Vancouver, crafted a unique fusion of power-pop melodies and witty lyrics that garnered them a dedicated fanbase. Following a period of silence, their 2023 release, ‘Crash The Time Machine‘, emerged as a delightful surprise for fans, featuring thirteen tracks of undeniable class, cementing its position as a standout in the musical tapestry of the year.

SweetSweetMusicblog is honored to have a conversation with Craig Northey, delving into the creative process behind ‘Crash The Time Machine’.

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Be sure to catch, ‘Crash the Time Machine,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

We’d been writing together in different pairings over the few years before the pandemic. There were many finished and partially finished songs just sitting there, so we made a list and got together for about three days to toss those songs around and record all the basic band tracks. That was right before the pandemic locked us all down. We were lucky to have sealed in the group dynamics. Overdubs and vocals were mostly sent in by each member over the internet after that, and we worked together by Zoom and email to finish off the album.

Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?

Bands usually always make records to please themselves. By that, I mean…if we all love it then it’s worth putting out. As the songs took shape, there was a lot of enthusiasm and encouragement from every member. Nobody was on the fence about anything this time. We all believed in these songs from the get-go.

The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?

We have been friends and collaborators with Steven Page for a very long time. We had all recently been in our studio with him working on his album, and it just seemed like it was no different than if we were working on our own album. The dynamic remained the same. He understands us in the way a fan of our music does as well as knowing what we are like as people and collaborators. We wondered what it would be like if we played the songs for Steven as they developed to see if his enthusiasm would bring a fresh perspective. We knew he would be respectful of our process. It was really a good idea.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

 The album was already successful in our minds as soon as we finished it. We know it’s a good record, and we’re happy to have these songs exist in a recorded form that we all like. That said…we’d love it to be heard by millions of people. Our past experiences have shaped the way we envision success. We put the personal satisfaction of creation first, and we have a realistic understanding of what will happen with the commercial distribution of the album and the audience we will reach.

Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?

I feel it’s possible, depending on the person listening, …that the best song we’ve ever written is on this record. I don’t know which one it is! The audience decides that. It’s subjective. In my opinion, it is the best album we’ve ever made, so…the chances are good. We all believe that if we didn’t feel we were doing our best work, we shouldn’t put it out there in the world.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?   

It doesn’t come naturally to me. It’s always a struggle to open up. I’ve always tended to make the stories a bit of an open-ended mystery. Those around me may figure things out, but there is a lot of room for interpretation. My favorite painters are impressionists. On this album, I feel I took a big step toward emotional vulnerability and just saying it straight up.

Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?

I can’t make that choice til I’ve met the person. I look up to so many other writers. Let’s start with dinner, then I could get a better idea. I am a frequent collaborator with friends I trust, and I don’t have to stray too far. I can tell you there are three other writers in my band who bring out the best in what I bring to the table. Somehow after they are done with me, the songs sound more like what I would have imagined if I had more talent!

Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?

Now that there are probably thousands, I can only ever answer these questions with the first images that pop into my head. Odds opening for the Tragically Hip in Vancouver at the Pacific Coliseum (the place I saw so many amazing arena shows as a kid and watched my favorite hockey team) 1995. “King Tut’s Wah Wah Hut” in Glasgow with the Steven Page Trio 2016 — we barely had to sing any words. First show with Warren Zevon (as his band) in the Bearsville Theater Woodstock, NY 1991. It was just too mind-boggling that we were headed out on that journey with Warren. Our heads were crammed with new music, and we were so excited. If you asked me tomorrow, three completely different shows will appear in my head. 

Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?

Sometimes you’ve already recorded it before you realize it’s ready to record.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

We have dealt with this by never thinking about it. We figure if we like the music we make, then there are a certain logical percentage of people who may also like it. If it would play on the radios that exist in our heads, then it’s worthy.

Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?

Lyrics are a package deal. I think all the lines together are the painting. I’m sure a critic might point out which brush strokes were key, but I never think about individual lines. It’s interesting when someone recites a line back to you. It feels different coming from them…that’s good.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

I don’t claim to know what a hit song is, but I do actually remember when something like this happened. We had written, “Someone Who’s Cool” for the upcoming album “Nest”. We went to San Fransisco for a big open-air gig. KFOG’s “Sky Concert”. The song was just fresh that week, so we decided to add it to the set and see if we could get through it. The crowd went crazy for it, and the reaction was better than the song before it that the sponsoring station was currently featuring in heavy rotation. We all looked at each other and went, “what the hell just happened”. Historically it’s now our biggest song.

With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?

I can’t make you a mix-tape until we at least have dinner.

Performing music before an audience holds a unique allure. What aspects of this experience contribute to the excitement and enjoyment for you?

It’s the immediacy of the connection and the movement that you can’t get from recording. I’ve said that we do this for ourselves, but the payback is the connection the songs make with people. A few years ago, we did like a lot of bands and performed one of our old albums from front to back over a couple of nights. It was amazing to watch the audience listen to that album while we looked at them all in their smiling and singing faces. One never gets to watch the impact of a full album as a unified work. It was like a test screening of a movie, but after it had already made its connection to the audience.

While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?

No really. I think there is a dark sense of hope that I have noticed in the music. We tend to laugh a lot and try to honor the chaos and unpredictability of life. We’re just trying to honor the groove and stir things up a bit.

If tasked with introducing your music through three songs, which ones would you choose and what story do they collectively convey to new listeners?

I’ve fallen in love with bands by hearing the music that critics deem to be their worst. I would never attempt this. I’d say ask a friend who likes us.

In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?

Surprise me!! Last fall, I got to tour with the Who in the Steven Page Trio. They were amazing to us. Complete synergy. Odds are open for anything!

Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?

My mom is a professional classical musician. She’s a brilliant player that started me on this path at the age of 4. Initially, I wanted to play the violin like her. By 6, I already knew rock n’ roll was my path. She got me to stick to both things for another 10 years, and then I veered off into a world my parents didn’t quite understand. The best compliment was having her help me one day with a Steven Page orchestral arrangement and feeling like a team. 

With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?

The pinnacle of enjoyment is never reached. The songs are out there now, and that means we can enjoy them and re-invent them for years to come. We just got 13 more arrows to fire into hearts!

Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?

We’ll continue to play Odds shows as much as possible. I will continue to play shows with the Steven Page Trio. His new album “Excelsior” is fantastic. Steven Page, myself, Chris Murphy (Sloan), and Moe Berg (the Pursuit of Happiness) have a band called “the TransCanada Highwaymen”. It’s four frontmen for known Canadian bands playing as a rock’n roll combo and blasting out each other’s most loved Canadian radio bangers. In the spirit of that we recorded a Ktel-flavoured covers album of late 60’s and early 70’s Canadian radio hits. The first single is out now on “the services,” and the album will be released Oct 27th. We hope to play more shows going forward. I’ll start writing soon with Rob Baker (the Tragically Hip) for the 4th “Strippers Union” album. Check out “the Undertaking” by Strippers Union. It’s a double album we released during the pandemic.

In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?

I had an idea for the album cover in my head, so I approached Cam Andrews, who is a Vancouver visual artist, to help put that vision together. We got Rob Baker (see Strippers Union above) to provide the illustrations of the key characters. We created the scene whereupon a gang of urban wildlife come across the site of the crash of a time machine. I suppose that’s a semi-literal manifestation of the title track.