The making of Dear Seattle’s TOY wasn’t just about writing songs and hitting the studio—it was a process marked with introspective moments, creative bounds, and many beers.
Working with producer Fletcher Matthews again was a no-brainer. Having produced their self-titled EP, Fletcher already understood the band’s DNA, and his career since then only made the reunion more exciting. “Not just sonically, but ethos-wise, it’s nice coming back to someone you care about and know so well,” frontman Brae Fisher shared. The goal wasn’t to rehash old ground, though. They wanted to revisit the energy of the EP while layering in heavier tones and indie textures. “It’s hard to pin down what genre it is exactly, but it definitely taps into that blend.”
Even the album cover was a product of sheer serendipity. It’s a photo taken by former drummer Josh McKay on his phone after a gig at The Vic in Marrickville. “We’d been at a show—Rolling Blackouts Coastal Fever, I think—and afterward, we grabbed kebabs and spotted this phone booth,” Fisher recalled. “Josh just snapped it, and the photo sat there for years until someone sent it back into the band chat. The second I saw it, I thought, ‘This is it.’”
The untouched rawness of the image—now slightly cropped and edited—fits perfectly with the aesthetic of TOY. It also carries significant personal weight for the group. “Josh has since left the band, but this way, a part of him is still attached to the record.” Fisher also mentioned a nod to their debut album, Don’t Let Go, which featured a similarly organic photo taken by another bandmate. “It just felt right—like it came full circle.”
Interestingly, the cover wasn’t always the plan. At one point, the band considered using the gremlin from the Nothing’s Stopping Me Now single artwork. “We thought it could work, but ultimately, it made more sense as a single cover. The phone booth just clicked—it was nostalgic and reflective, just like the album itself.”
Initially, Dear Seattle planned to release a smaller collection of songs that hadn’t made it onto Someday, including Nothing’s Stopping Me Now and Elastic. But as they started writing, it became clear the material deserved more. “It felt like a waste to put these songs out on an EP and not give them the full album process,” Fisher admitted. They ended up writing over 35 songs and had to make some tough calls to get to the final track list. “We only cut the songs we didn’t all absolutely love. It’s a brutal process, but it works.”
The DIY ethos was another defining factor in TOY. Not only did they work with friends to build their team, but they also took charge of their music videos. For Sungazer, they collaborated with the team at HOLL, but Fisher himself actually handled the editing and grading himself. Say What You Want was even more hands-on. “I filmed, directed, and did everything for that video,” he added.
That control gave the album a cohesive feel, tying together the music and visuals seamlessly. “When it’s your own project, no one’s going to care as much as you do,” Fisher explained. “I’m happy to sit there for hours, tweaking every little detail, just to make sure it feels like us.”
With TOY, Dear Seattle has delivered a record that balances introspection with unbridled energy. From reconnecting with Fletcher Matthews to embracing a DIY mindset, the album is a testament to their growth. It’s yet another stop on their endlessly creative road-trip. Or as Fisher puts it, “At the end of the day, it has to feel like us.”
Dear Seattle’s Upcoming Australian Tour Dates:
Brisbane – 20 December – Tomcat
Sunshine Coast – 21 December – Old Soul
Canberra – 16 January – The Baso (Abyss)
Wollongong – 17 January – La La La’s
Sydney – 18 January – Crowbar
Newcastle – 19 January – Hamilton Station Hotel
Tickets for these shows are available from here.
