Deep Sea Arcade: „My music is like stepping into an immersive, collage-like space”

Deep Sea Arcade is a psychedelic Indie rock band from Sydney, Australia. Their sound is a hypnotic fusion of psychedelic rock and electro, drawing listeners into a cinematic, immersive world filled with ethereal guitars, pulsing beats, and haunting melodies. Layered with lyrical storytelling, their music balances dreamy atmospheres with infectious rhythms, creating a mesmerizing and unmistakably unique sound.

We sat down with Nic to discuss the latest music, their sound design process, rituals to get into the right mindset for creating, and so much more.

Hello! Thanks for sitting down with us to talk about music, inspiration, and more! For starters, when did you get the music bug? Can you recall your first ever musical experience?

Thanks for having me! I think the music bug bit me pretty early on. I remember being completely fascinated by my parent’s record collection, especially listening to albums like The White Arcades by Harold Budd. There was something magical about those soundscapes that felt almost otherworldly. But if I had to pinpoint a first real experience, it would be hearing a song by The Beatles or The Kinks or maybe Blur or Radiohead and thinking, “I want to fit some meaningful words into a tune like that.” It was like an internal switch flipped, and I started experimenting with whatever instruments or recording equipment I could get my hands on.

Given the state of mainstream culture that permeates how we consume media, how would you introduce your music to a stranger?

Growing up, I was inspired by watching my uncle at the kitchen table on weekends, cutting up old newspapers and magazines to create collages. It was one of the first creative practices I experienced and it left a lasting impression on me. He taught me that taking elements from different sources and placing them in a new context can create something entirely original. While I don’t sample other artists directly, I draw inspiration from fragments of their work and incorporate those influences into my own music. I enjoy blending styles—like combining a boom-bap hip-hop beat with 1960s-style vocals and adding an 80s chorus-laden guitar. In that way, I see my music as a form of collage, bringing bits and pieces from the music I love together to form something new.

And if you had to pick one track that shows people who you are as an artist, which one would it be?

That’s a tough one, but I think ‘Girls’ captures where I’m at now. It merges a nostalgic thread with something new, real instrumentation with electronic ones reflecting both my early influences and the growth that’s happened since. The collaboration with Johnny Mackay really brought out another layer in the song, pushing me creatively in a direction I’m proud of.

What do you hope listeners take away from “Girls (Re – Fascinated)”?

I hope listeners feel a sense of connection—whether it’s to the nostalgia of the original track or the new textures we’ve explored in the remix. For me, it’s about finding those shared moments in music where someone feels like a lyric or a melody reflects a piece of their own experience. If the song resonates in that way, then it’s done its job.

Please tell us a bit more about your release “Girls (Re – Fascinated)”. What is the message you’re trying to convey with this release?

The remix is a reflection of memory and transformation. It’s like revisiting a familiar place with new eyes and realizing it’s both the same and completely different. Johnny and I wanted to emphasize the dreaminess in the track while giving it an upbeat and danceable energy. Ultimately, the message is about how our relationships with people and places can evolve in unexpected ways.

Take me through your sound design process. Does the conception come first or do the songs evolve naturally – do you have a clear idea of what it will be before you start to make it?

I usually start with a beat or a vocal melody—it’s like an outline that hints at the rest of the track. From there, it’s about following where that initial spark leads. I rarely have a fully formed idea before starting, and I actually enjoy the freedom that comes with not knowing. There’s a lot of trial and error, layering different sounds, and letting the track reveal itself. Working with someone like Jay Watson (Tame Impala, Pond) who’s so instinctive and musical, has really pushed me to explore new instrumentation and out-of-the-box production techniques and embrace more spontaneity.

There are many descriptions of the ideal state of mind for being creative. What is it like for you? What supports this ideal state of mind and what are distractions? Are there strategies to enter into this state more easily?

For me, being in the right headspace means feeling open and free from self-criticism. Exercise like swimming or yoga helps clear my mind, while things like bike riding or walks often spark new ideas. Distractions come when I’m overthinking or trying too hard to control the process. To get into a creative flow, I find that it’s best to create a relaxed environment—maybe sit in the sunshine, then find a comfortable tidy space with some warm lighting and make a massive mess with microphone leads and instrument cables, and just letting the ideas flow naturally.

How do you know when a track is ready? Does it ever become difficult to refine ideas or stop perfecting?

It’s definitely hard to know when to stop tweaking things, especially when you’re deeply invested in a track. I’ve learned that if a song still feels fresh and resonant after a bit of distance, then it’s probably ready. Jay has been a huge help in this, as he knows how to capture the essence of a song without overdoing it. There’s a balance between refining something and letting its imperfections add to its character.

Do you have certain rituals to get you into the right mindset for creating? What role do certain foods or stimulants like coffee, lighting, scents, exercise, or reading poetry play?

Absolutely. A good few cups of coffee in the morning helps me wake up and get into a creative mindset. Lighting is key too; soft, ambient light feels the most inspiring, I have many many lamps. I like to exercise, as it clears my head and gets me in a relaxed yet focused state. Sometimes I’ll read a novel, some poetry or lyrics or listen to records or do a sketch, or make a collage to shift gears mentally. Creating a comfortable, uncluttered space really helps as well.

What other creative outputs do you engage in that we may not suspect?

Film photography is a big one for me. I love capturing moments in a way that feels authentic and unfiltered. It’s similar to music in that I’m drawn to creating something real that tells a story. Outside of that, I find that writing helps me process thoughts and emotions, even if it’s just journaling. Both of these outlets feed into my music in subtle ways.

Guilty pleasure time. What would you say are some of your current most guilty pleasures? All is fair game—food, books, video games, whatever floats your boat. Let us have it.

Writing stupid songs about my dog, man I could release a double album of songs about my dog.

I do quite enjoy building websites and blogs and listening and writing about music and art. At the moment I’m building a choose your own adventure website, made from scanned and digital collages I’ve made.

What music have you been listening to recently and what excites you for the remainder of the year?

Lately, I’ve been really into exploring soul and disco records, and I do love those beats compilation records from the 80s and 90s with just breaks on them. I also quite like those K-tel compilation records, because they are curated by mood and genre. I’m also excited about some new remixes we’re releasing, like the reimagining of Granite City by Raindrop, and upcoming collaborations with Vlossom and Barely Passable.

It’s been great to hear different artists’ takes on our music and see how their interpretations bring out new elements. I’m also stoked about playing live and rehearsing with a live band. It’s been fun playing guitar again and re-learning all the parts. We’re playing Out West Fest on November 9th; I’m looking forward to that.

To wrap it up, what do you hope to do with your art in the future? I mean, do you have any crazy goals?

I’d love to keep evolving and pushing the boundaries of our sound while staying true to the heart of what we do. Ideally, I’d like to create more immersive experiences, maybe combining music with visual elements or even collaborating on short films, I bought a 16mm Krasnogorsk film camera. I’m looking forward to doing stuff with that. And on a personal level, it would be amazing to continue to grow as a songwriter and connect with people in new ways. Ultimately, I just hope to keep making music that feels honest and resonates with those who hear it.