Jessica Dobson talks about the new album and Deep Sea Diver’s evolution

Transmission 187: Interview with Deep Sea Diver

Deep Sea Diver began as a conduit for Jessica Dobson’s songwriting after years spent playing in other people’s bands, including Beck and The Shins. What started as a sparse home-recorded EP in 2009 (New Caves), made with drummer and partner Peter Mansen, has gradually evolved into a tightly formed group with Elliot Jackson and Garrett Gue.

Title: Billboard Heart
Artist: Deep Sea Diver
Genres: Alternative Rock, Indie Rock, Psychedelic Rock
Label: Sub Pop Records
Description: Interview with Deep Sea Diver about Billboard Heart their 2025 Sub Pop release recorded with Madison Cunningham and Greg Leisz.

The debut album History Speaks appeared in 2012 via the band’s own High Beam Records, followed by Secrets (2016) and Impossible Weight (2020), the latter becoming a fixture on KEXP’s playlists. In 2024, Deep Sea Diver signed to Sub Pop and released Billboard Heart in early 2025. Written and recorded largely by Dobson, the album includes appearances from Madison Cunningham, Greg Leisz, and Yuuki Matthews.

More at Bandcamp.

Can you recall a defining moment or experience that first initiated your interest in music, and how did those early experiences lead to the formation of Deep Sea Diver?

When I was a kid, I remember watching MTV and discovering Bjork for the first time. I loved trying to sing like her and performing in a way that felt free. I’ve definitely carried that influence into the realm of Deep Sea Diver. 

What role does Seattle’s creative culture play in the identity of Deep Sea Diver?

I think that KEXP (Seattle’s radio station ) has played an immense role in the launching of many bands careers and there is such a supportive community there for the arts and music. We’re proud to be a part of it. 

Looking back at recording New Caves in 2009, what were the most significant challenges you faced as an emerging artist?

I think I had to learn how to protect my artistic voice and not get buried by my own personal critic or industry expectations. It’s a constant relearning and I’m proud of our latest album and how unbothered we were by anything outside of creating the best art we could create. 

How did the decision to self-release History Speaks in 2012 shape your perspective on creative control and independence in the music industry?

I would recommend self releasing to any artist, especially those who are just starting out. You learn all of the ins and outs of the industry and you truly do get to maintain creative control. I think too many people agonize over not getting record deals and they wait for labels to come around and think that it will solve things for them.  Always best to partner up with someone when you’re both equally as excited and invested. 

How did the process of recording in your home studio influence your relationship with sound and silence in the songs?

I love how many tracks on the album came from home recordings. There’s a different carefree approach I take when I’m in my studio and just throwing paint at the wall. It’s less precious with the sounds and performances, and the true spirit comes out. Perfection kills records so I try to avoid that. 

You’ve mentioned preserving imperfections in “What Do I Know” – what’s the most beautiful musical “mistake” you’ve ever kept in a recording?

Probably keeping all of my first takes on guitar with that track.

It has this feel and looseness that I admire from some of my favorite Bowie/ Eno records.

When arranging the tracks for Billboard Heart, did you consider a narrative arc, and if so, how did that shape the final tracklist?

We really wanted it to  feel like waking up and to a new horizon on the opening track , so we started with Billboard heart and then there’s plenty of peaks and valleys throughout the album. We wrapped it with Happiness Is not a Given, and that track is one of my favorite songs we’ve ever written. It feels like a peaceful closure to an internal reckoning. 

How did working with guest musicians like Madison Cunningham and Greg Leisz influence the texture and direction of Billboard Heart? 

I loved writing with Madison and getting to put Let Me Go on the album. She brought a free spiritedness and totally different guitar approach that elevated the album. Greg was able to add the most nuanced and beautiful pedal steel guitar parts that nodded at one of the largest influences of the record which was the movie “Paris Texas”. 

Were there any particular books, films, or visual art pieces that impacted the creative direction of Billboard Heart?

Absolutely! I was hugely influenced by the art of Katherine Bradford, David Lynch’s “Blue Velvet”, Wim Wenders “Paris, Texas” and Nick Cave’s book “Faith, Hope and Carnage”. 

After Billboard Heart, what creative directions are you planning to explore next, whether in writing new material, pursuing collaborations, or experimenting with new sounds?

I think I’m ready to explore new territory in my songwriting and collaborations. I feel like there are no rules, we’re 4 albums in now, theres just a lot of open road to start heading down.

Photos courtesy of Deep Sea Diver

Matteo Damiani

Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others