The Cruel Sea releases first new record in 23 years
Rock frontman Tex Perkins sums up the state of play for every working-class Australian musician who isn't AC/DC or the Kid Laroi.
'For people on our level, the only way we can put food on the table is by touring,' Perkins said.
As The Cruel Sea introduces their first studio album in 23 years on the Straight into the Sun tour this month, frontman Tex Perkins knows it may be the only opportunity fans get to hear it.
The revered 90s rockers soared to No. 1 on the ARIA Top 20 Australian Albums chart in March and their new collection of songs was greeted by a swell of goodwill from critics and fans alike.
But that chart position and good reviews don't add up to coin. A national survey last year found about half of Australia's musicians earned less than $6000 from their talents in the previous 12 months.
Gigs, and T-shirt sales, are the primary income sources for Aussie musicians because streaming and social media algorithms favour international artists, reducing the opportunities for local acts to be discovered.
The Cruel Sea rode the alternative rock wave in the mid1990s, with Powderfinger, You Am I and Silverchair, when the CD was king and cost you about $25.99 – that's worth more than $60 now.
Vinyl is the more popular physical format among music fans now and the LP version of their latest record, which retailed for $60, sold out. An anniversary version of the award-winning 90s record The Honeymoon is Over, which wasn't previously available on vinyl, also sold out.
'Ours was the last generation that could make actual money from selling records,' Perkins said.
'The label, or us, aren't making a shitload from it but it seemed to be worth their while to do it. But now, it's all about (playing) live.'
Perkins and his bandmates - bassist Ken Gormly, guitarist Dan Rumour and drummer Jim Elliott - thought the band was done after the death of guitarist James Cruikshank of bowel cancer in 2015. Rumour had 'gone off grid' and the musicians all had other lives away from the stage.
The Cruel Sea disappeared from the tour circuit for a decade until late 2023 when they were offered a national run of gigs to celebrate the 30th anniversary of their seminal The Honeymoon Is Over record.
'We didn't split up but we'd only play sporadically when someone invited us to do a festival or something and it was like 'Well, how much do we get?'' Perkins said.
Guitarist Rumour handed Perkins a CD with song ideas when they began rehearsing for the anniversary tour in late 2023 and the bandmates regrouped in February last year to record Straight into the Sun.
Among the credits on the record, and the person responsible for the album title, is Kristyna. The mononymous co-writer and backing vocalists is Kristyna Higgins, who is also Perkins' wife and has been a long-time collaborator with the band on the art direction and design for covers and posters.
'We were listening to Danny's demoes and throwing ideas around and said 'Straight into the Sun'; often all you need sometimes is a title or a phrase and then you're off and running,' Perkins said.
'There's a bunch of lines in Waste Your Time that are hers – she's a creative force and is always helping us out with graphics and photos.'
Perkins and the Cruel Sea remain as potent and thrilling on stage as they were three decades ago but the frontman admits to suffering the same insecurities as any famous artist.
It appears ageing rock gods are subjected to a similar level of chronic online body-shaming as young female pop stars these days.
'You are expected to look eternally (youthful). I dye my hair and a few years ago, put on a bit of weight and got a bit of a dad bod and got this attitude of 'What am I trying to fucking prove?' I've had enough of trying hard,' Perkins said.
'Social media will fat-shame you, old-shame you and the industry is certainly geared towards new and young is good and old is … old. But then the Cruel Sea was considered old in 1998.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

News.com.au
an hour ago
- News.com.au
Titus Day trial: New details on Guy Sebastian's meeting with former manager as bitter dispute unfolded
Guy Sebastian's former manager claimed the pop star went on a 'monologue' about the manager's failures as the pair's relationship deteriorated into a bitter dispute, a court was told. Titus Emanuel Day is standing trial for allegedly embezzling $640,000 of Sebastian's royalties and performance fees, including the alleged failure to remit performance fees for his work supporting Taylor Swift on her 2013 Red tour of Australia and other corporate gigs and performances. Mr Day has pleaded not guilty to 34 counts of embezzlement as a clerk or servant and one count of attempting to dishonestly obtain financial advantage by deception. He has denied doing anything fraudulent or dishonest. Sebastian moved over to Mr Day's management company 6 Degrees three years after winning Australian Idol, having worked with him previously at Mr Day's former agency, 22 Management: no formal agreement was signed at 6 Degrees, but the court was told their agreement was based on Sebastian's former arrangement with 22 Management. The pair, once so close Sebastian considered them to be 'a family of sorts', experienced a 'really big shift' in their relationship by 2016, with Sebastian claiming documents, statements and invoices 'were not being sent anymore'. Having 'grievances' with his former manager, the court was told Sebastian met with Mr Day at a cafe towards the end of 2017. Mr Day's barrister, Thomas Woods, on Monday suggested Sebastian had spoken 'more or less continuously for half an hour' during the meeting, prompting Mr Day to say words to the effect of 'I'm willing to discuss the issues, but I'm not willing to sit here and listen to a monologue from you about all my failures'. 'I do not recall that, no,' Sebastian replied. The Battle Scars singer also denied suggestions he'd agreed to pay Mr Day commissions he was asking for if he could show they were payable as per his former agreement with 22 Management by way of a 'handshake agreement' at the 2017 meeting. 'Definitely not, no — you couldn't come up with a more completely opposite version of what happened in that meeting,' Sebastian said. 'The purpose of that meeting was I was actually trying to avoid being negative about it and trying to come to some kind of peaceful ending to everything where Titus would provide some accounting for what was missing.' The court was told Mr Day was pushing for commissions to be paid to him after the pair parted ways professionally, however Sebastian and his lawyer at the time maintained there were no post-term commission arrangements. Sebastian later told the court he was happy to pay commission for anything Mr Day had worked Woods earlier told the court that there would be 'no dispute' that on some occasions his client should have transferred money onto Sebastian 'but did not'. 'For many of the charges, the real question is not going to be whether my client failed to transfer the money to Sebastian but whether his failure to do that was criminal,' Mr Woods said. Sebastian told Mr Day he was leaving his management in 2017, the court was previously told. Sebastian launched Federal Court proceedings against Mr Day the following year. He in turn filed a counterclaim.

News.com.au
2 hours ago
- News.com.au
Matildas star Katrina Gorry in tears over teammates' act
Katrina Gorry broke down in tears as she recalled a touching gesture from her Matilda's teammates during the 2023 World Cup. The emotional moment came during a sit down interview with to discuss her recently released memoir, Katrina Gorry: A Matilda's hero's story of football, motherhood and breaking down barriers. In the book, Gorry, 32, writes about battling an eating disorder, having a child on her own through IVF, and of course her stunning Matilda's career which has seen her play more than 100 games for Australia. In one of the most moving parts of the book, Gorry shares a story about what happened in the changerooms before Australia's quarterfinal clash against France during the 2023 World Cup. Gorry was a bit distracted before the game due to an upsetting phone call she'd received from her partner, Clara (who was in Sweden), two days prior. 'She said, 'it's about my dad (Peter) … he's had a heart attack and died,'' Gorry told 'I just couldn't believe it,' the Matilda's star said as she started crying. Gorry hadn't shared the heartbreaking news with anyone, but decided to tell one of her teammates in the rooms before the quarterfinal. ' They obviously informed the staff what had happened and all the girls just rallied behind me,' Gorry said. Unbeknownst to her, the Matilda's players made a snap decision to honour Clara's dad, Peter. 'We were in the changerooms and everyone put black arm bands on for him and I just turned around and realised, this is a team. It was a really special moment,' Gorry said. That wasn't the only special moment of the night. The quarterfinal against France ended up going to penalties after each team failed to score during the match. It was 4-3 France's way when Gorry was called up to take a penalty. If she missed, Australia would have been out of the World Cup. 'I had him (Peter) watching over me in that moment,' Gorry told about the penalty kick. 'It was dead silent in the crowd, I can still feel it right now, I can see the grass moving,' she said. Gorry ran in, kicked the ball, and smacked it into the back of the net. As the Brisbane crowd erupted, Gorry ran back to her teammates and kissed a piece of tape that was strapped around her left wrist. asked Gorry what the significance of the tape was, to which she replied, 'I had his (Peter) name on my wrists'. The Matilda's went on to win the match against France but lost to England in the semi-final, finishing fourth in the World Cup. In Gorry's interview with the star footballer also spoke about how her parents reacted when she told them she was gay, what is was like to miss a crucial penalty during the 2016 Rio Olympics, and how she overcame her eating disorder. You can watch the full interview in the video player at the top of this article.

ABC News
2 hours ago
- ABC News
Sly Stone's biggest songs tell us everything about his impact on modern music and culture
The tragic truth is that Sly Stone's recording career was only a very short part of his life. The singer and bandleader, who died this week at 82, was a groundbreaking figure in popular culture of the 1960s and 70s known for his open-minded approach to creating music. His band, Sly & the Family Stone, was one of the first prominent mixed-race, mixed-gender, mixed-genre bands to gain mainstream support. They broke musical boundaries as well as social ones, bringing rock'n'roll, funk and soul together in a heady melange we now take for granted. His work hasn't just influenced artists over the past 60 years, it has provided the architecture for so much modern music. Funk, soul, hip hop and even pop music have all been shaped in some way by the leaps made by Sly Stone's band, who broke the mould at a time when such behaviour was unheard of. While much of his life was marred by drug addiction and homelessness due to financial mismanagement, the impact he had on music has never dulled. The music and the message has remained relevant for decades. Here are five songs to start with if you're not yet across some of the biggest moments Sly Stone gave us in his early career. Sly and the Family Stone's debut album, A Whole New Thing, didn't sell a lot of copies upon release and didn't garner the same critical acclaim that would come with their next albums. They came out of the gates strongly though, 'Underdog' — the first track from their first album — set the tone for the energy they were set to inject into American pop culture in the coming years. Recorded live, it's a clear display of the band's sheer brilliance as individual musicians and as a unit. The song sounds like a party from the moment they all kick in after its 'Frère Jacques' intro, and Sly Stone sounds every bit the formidable leader he was as he barks about the feeling of being underrated and under-appreciated. It's a brilliant piece of music, and that was clearly enough for Sly Stone to realise success was worth chasing. After failing to shift the needle on their first album, Sly Stone took his band in more of a pop direction on second album 1968's Dance To The Music. The band was good, they just hadn't captured the public's attention yet. The title track, which opens the album, took care of that. While they were unapologetically shooting for broader audiences, that didn't stop them from breaking ground. This is the song perhaps most responsible for the explosion of psychedelic soul music that was to come in its wake. Rock bands began to embrace the grooves and spirit of soul music, soul groups dug into the freedom and experimentation that came with psychedelic rock and, perhaps most importantly, the listening public got used to these worlds colliding. If 'Dance To The Music' was the band's introduction to a mainstream audience, 'Everyday People' was — and still is — the song that would cement them in the annals of pop culture forever. The band's first number one single is the most prominent example of the peaceful politics that drove much of the band's early work. It remains an anthem for equality almost 60 years later and perhaps speaks to the band's ethos more clearly than any of their work. That it was a hit was no accident. Stone knew precisely what he was doing. "I didn't just want 'Everyday People' to be a song, I wanted it to be a standard," he wrote in his 2023 autobiography Thank You (Falettinme Be Mice Elf Agin). "Something that would be up there with 'Jingle Bells' or 'Moon River'. And I knew how to do it. It meant a simple melody with a simple arrangement to match." At just two minutes long, it feels like it's all over before it begins. While it doesn't overstay its welcome, that simple melody sticks in your head well after the track is over. 'Everyday People' is still everywhere in pop culture, thanks largely to its appearances in TV advertisements and innumerable cover versions, the latest of which to go viral features pop icon Cher and mumble rap superstar Future. Sly's lyrics start to sound a bit more paranoid and cautious at this point, as he sings of a wrestle with the devil, later proclaiming that "Flamin' eyes of people fear burnin' into you" and how "dyin' young is hard to take, sellin' out is harder". As for that title: it's more than sensational spelling for the sake of it. "Mice, elf, small humble things that were reminders of how big the rest of the world was," he wrote in his autobiography. "You had to stand up straight to be seen at all. And there were forces working against standing up straight. I tried to get to them in the lyrics." This song has perhaps the most practical example of the immense musical impact of this group: it is widely considered the song that introduced the concept of slap bass, courtesy of Larry Graham, a style of playing omnipresent through various genres of music to this day. Thanks to that, the influence of this song is too broad to accurately chart, but the clearest example is probably Janet Jackson's career-defining song 'Rhythm Nation', which is built from a sample of this track. In 1971, the civil rights movement was losing momentum, flower power and the energy it had inspired was also waning, and Sly Stone's lifelong battle with drug addiction was beginning to take a serious toll, leading to infighting, missed concerts, and general unreliability that hampered his personal and working relationships. On their dark fifth album, There's A Riot Goin' On, Sly and the Family Stone threw the positivity of their late-60s records in the fire and turned in a series of druggy, pessimistic takes on modern life. It's a dour but brilliant record and its centrepiece, 'Family Affair', remains one of Stone's finest works and biggest hits. His lyrics, about the complexities of familial love, aren't groundbreaking but its chorus, sung by Sly's sister Rose Stone, makes it both sweet and sad in a haunting kind of way. The tensions within the band meant the line-up on this track wasn't the Family Stone as they'd previously existed. Billy Preston, fresh from his turn with The Beatles, played keys, Bobby Womack played guitar, while a drum machine replaced founding drummer Greg Errico. Admittedly, this primitive electronic beat-making proved hugely influential on the development of hip hop years later. It's been covered extensively: Lou Reed's version is the pick, though takes from reggae pop star Shabba Ranks and Aussie favourite Stephen Cummings warrant investigation too. It's also been heavily sampled: most notably in the Black Eyed Peas 2000 jam 'Weekends'.