Deep Sea Arcadeʼs reverberated brand of psychedelia recalls guitar-based music from across the ages, yet with a character and charm that is undeniably unique. The group began as a home recording project for founding members Nic McKenzie (lead singer, songwriter, lyricist) and Nick Weaver (bass, guitar) while in their mid teens. Using four-track tape recorders, broadcast microphones and unconventional computer programs, the duo created a sinister backdrop to contrast with their penchant for pop-song structure and melody. Check out the exclusive Interview below:
1. Deep Sea Arcade has just announced the re-release of Outlands on vinyl, with a new remix of ‘Girls’ by Johnny Mackay (Lord Fascinator). Can you tell us how the band started and what this re-release means to you?
DEEP SEA ARCADE: We’re based in Sydney, and Deep Sea Arcade started as a project between myself and Nick Weaver. We connected over a shared love for ’60s psychedelic music and 90’s bands like Blur, Radiohead, Portishead, and Sneaker Pimps. We began recording demos at my house using some old broadcast equipment my dad had brought home from work, and that’s how it all began. Our debut album Outlands, originally released in 2012, was a big turning point for us, and now with its re-release on vinyl, it feels like we’ve come full circle.
2. Did you have any formal training or are you self-taught?
DEEP SEA ARCADE: A bit of both, really. We’ve always had a DIY approach—most of what we’ve learned came from experimenting with sounds and production on our own. While there’s some formal training in the mix, the best lessons came from diving in and seeing what stuck. Curiosity has always driven me, and I’ve pieced together songs through trial and error. Many of the tracks on Outlands were first composed using a Yamaha SU200 sampler, an electric guitar, a Casiotone 405, and an EV 635A mic, all recorded into Cool Edit Pro. Later, they were mixed by Dan Grech-Margeurat (Liam Gallagher, Lana Del Rey) and Doug Boehm (The Vines, Miley Cyrus).
3. Outlands has become an iconic record in the Australian indie scene, even receiving praise from the likes of DMA’s and Lime Cordiale. Who were your first and strongest musical influences, and how did you come up with the name ‘Deep Sea Arcade’?
DEEP SEA ARCADE: Our early influences include The Zombies, The Beatles, and The Kinks, as well as later bands like Primal Scream and Air. The name “Deep Sea Arcade” felt fitting because I wanted to create a sonic world that was immersive and surreal, almost like stepping into a strange, underwater carnival. My parents had a record called The White Arcades by Harold Budd, which I loved growing up, and the name is a direct reference to that. These influences helped shape the dreamy, textured vibe of Outlands, and I’m stoked and humbled to hear that it still resonates with musicians like Johnny and Oli.
4. What do you feel are the key elements in your music that should resonate with listeners, and how would you personally describe your sound?
DEEP SEA ARCADE: Our sound has always been a blend of psych-rock with a pop edge—there’s a dreamy quality, but also hooks that, hopefully, stay with you. The balance between melody and atmosphere is key for us. I’m particularly obsessed with groove and feel, especially in the rhythm section. Every song usually starts with a vocal melody, and from there, I create a rhythm—often by beatboxing—that I later program on a drum machine or bring to a drummer. ‘Girls’ is a track I’m especially proud of, and Lord Fascinator’s remix gives it a fresh, surreal twist. The atmospheric layers, harmonies, and dreamlike quality are elements I love, mixing nostalgia with contemporary sounds.
5. For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and music maker, and the transition towards your own style?
DEEP SEA ARCADE: One of the most beautiful things about recording and writing music is that it’s nearly impossible to replicate the same thing twice, even in your own recordings. If you set out to emulate your idols, you’ll inevitably fail in some way, and that failure becomes something uniquely your own. Watching Peter Jackson’s Beatles documentary Get Back, I loved seeing John Lennon riff on an old classic he loved, then seamlessly transition back into a Beatles song. It reminded me that all musicians (even the legends) are first and foremost music fans—by maintaining a dialogue with our heroes, we create something distinct, and in turn, we might inspire someone.
6. What’s your view on the role and function of music as political, cultural, spiritual, and/or social vehicles – and do you try and affront any of these themes in your work, or are you purely interested in music as an expression of technical artistry, personal narrative, and entertainment?
DEEP SEA ARCADE: Our music has always focused more on personal expression and capturing emotions rather than tackling overt political or social issues. The lyrics on Outlands reflect my inner world—memories, relationships, and observations that have shaped me. I’m proud of the ones that feel like short stories because I think good music resonates deeply with people, whether through personal experiences or broader cultural themes. I’ve always tried to create an emotional landscape for listeners to interpret in their own way. That said, I recently wrote a song about former Australian Prime Minister Scott Morrison out of sheer frustration, though I’m not sure if it’ll make it onto the new album.
7. Do you feel that your music is giving you back just as much fulfilment as the amount of work you are putting into it or are you expecting something more, or different in the future?
DEEP SEA ARCADE: I feel like music is constantly evolving for us, and we’re always chasing new ideas and sounds.
With the upcoming re-release of Outlands on vinyl and the new remixes, there’s a lot of excitement and nostalgia, but there’s also this forward momentum with the new album I’m working on for 2025.
8. Could you describe your creative process? How do you usually start, and go about shaping ideas into a completed song? And how has working with Jay Watson (Pond, Tame Impala) on your upcoming third album influenced this process?
DEEP SEA ARCADE: The creative process always begins with a vocal melody for me, setting the tone for the rest of the track. From there, I focus on building the rhythm—either by beatboxing or using a drum machine. Once I’ve nailed the feel, I pick up the bass to work out the root notes of the chords, followed by harmonies that outline the chord voicings, block chords, and final vocals. Collaborating with Jay Watson, who is both an exceptional producer and multi-instrumentalist, has been an eye-opening experience. His ability to play various instruments and his mixing approach have added a new dimension to the third album. Jay’s influence has encouraged me to explore more intricate layers and textures while maintaining the heart of the song. It’s truly humbling to work with someone whose instincts and skills have helped shape the sound of some of my favourite records.
9. What has been the most difficult thing you’ve had to endure in your life or music career so far?
DEEP SEA ARCADE: Losing Nick Weaver in 2021 was one of the hardest things I’ve had to face, both personally and as a musician. He was a huge part of my life and Deep Sea Arcade, and this re-release of Outlands is, in many ways, a tribute to him. Revisiting the album now brings back so many memories of recording it with him, which has been both challenging and meaningful. It’s been a chance to remember all the moments we shared, and to celebrate the music we created.
10. On the contrary, what would you consider a successful, proud or significant point in your life or music career so far?
DEEP SEA ARCADE: Early in my career, I was such a perfectionist that I held onto every part of the creative process too tightly, which sometimes took the joy out of it. Over time, I’ve realised that you can only really be a perfectionist with yourself—once you’ve figured things out internally, that’s when you bring others in, with a focus on making it a genuinely enjoyable process. Music is collaborative, and that’s where the true magic lies. Sharing the experience with the amazing musicians I play with, along with those who connect with the songs, has been one of the most rewarding parts of my journey.
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Photo credits: Andrew Mortlock
Review by: Naomi Joan
1 comment
Looking forward to the new music