A Quick Chat with Deep Sea Arcade

‘Alone in America’ feels incredibly cinematic and emotional — can you tell us about the moment or memory that first sparked the idea for the song?
It actually came from a moment of stillness while we were touring South America. We’d been moving non-stop, show after show, city after city — and then suddenly we were in this strange kind of limbo. Everything felt far away, especially home, but also strangely heightened and alive. I remember looking out the window and just feeling completely untethered, but also present. That weird emotional dislocation became the seed for the song. I also took a lot of film photos while we were there, and one of them ended up being the cover art. I think having those to look back on really helped with the songwriting.

The song reflects on your last tour with Nick Weaver — how did that period influence the tone and lyrical depth of this track?
That tour ended up being the last one we did with Nick, and in hindsight it took on so much more emotional weight. At the time, we were just doing what we always did — playing music, exploring,
But now, looking back, there was a fragility to it too. I think that’s where the melancholy in the song comes from — it’s a kind of tribute to those moments and to Nick’s spirit. There’s a beauty and sadness interwoven throughout it.

You’ve mentioned ‘America’ (the band) and The Beatles as major influences — what role did those classic harmonies play in shaping this song, and your broader sound on Colourised?
Harmony has always been a big part of our musical DNA — especially that 70s California thing. I grew up obsessed with The Beatles, but my second love was America, especially those George Martin-produced records. There’s something about their harmonies — they're so pure, so effortless — and they just make you want to sing along. I think ‘Alone in America’ is a subtle homage to that influence. When I start harmonising with myself it just comes out like that.

What was it like co-producing this track with Jay Watson? How did his input shape the final version we hear today?
Working with Jay was honestly one of the most creatively rewarding experiences I’ve had. He’s not only an incredible multi-instrumentalist — his drumming and bass playing on this track are next level — but he’s also such a generous spirit, especially when it comes to sharing his talent and instincts in the studio.
The track itself is pretty groove-heavy, but it has these unexpected prog-leaning moments, especially in the chorus. Jay brought this amazing rhythmic sensibility to it — I had the loop of the bridge going the other day and it reminded me of something you might hear on an Outkast record. Then it breaks out into this swirling, progged-out chorus. The recording really came alive through his playing. He’s been a huge influence on me — from early Tame Impala to Pond and Montero — and you can hear that DNA in the song. He just knows how to make things feel deep and expansive while still keeping the pocket tight. It wouldn’t be the same track without him.

‘No Direction’ marked a big return for Deep Sea Arcade and received a great response — how do you see ‘Alone in America’ building on that momentum?
‘No Direction’ was like, hey, we’re still here, and we’re evolving. It was more disco and upbeat, but with a certain tension. ‘Alone in America’ peels back another layer. It’s more vulnerable, more introspective. I think the two tracks show a broader picture of what the album Colourised is about — contrasting energies, emotional honesty, trip hop drum rolls in a disco beat — gotta love Mr Gum.

You’ve got some headline shows coming up, how does it feel bringing these new songs to life on stage — especially ones so rooted in personal reflection?
It’s honestly a bit of an emotional rollercoaster. These songs carry so much weight for us — especially with the memory of Nick so present — but there’s also this massive sense of release. Performing them live is cathartic. And feeling people connect with that in real time... it means everything.
We can’t wait to be back on stage, sharing this chapter with everyone. It feels like we’re stepping into something new, but with the past still echoing in a really beautiful way.
I’m especially excited to play The Metro again — we’ve got Scatterlight and Memory Motel joining us for that one, which will be huge. We’re also playing The Punters Club in Melbourne with this amazing new band called CVRNS — they’ve got a shoegaze, southern gothic thing going on that I really love. And we’re wrapping up at Dicey Rileys in Wollongong with GIRAFFEHEAD and Hot Pursuit. It’s going to be a special run.

Tour Dates:
Aug 20 — Metro Theatre, Sydney
Aug 23 — The Punters Club, Melbourne
Aug 30 — Dicey Rileys, Wollongong (presented by Yours & Owls)