Bones DeLarge harbors twin fixations that shape his entire output: Stanley Kubrick’s film A Clockwork Orange, which he favors over Anthony Burgess’s source novel even while weaving the author’s invented slang into his own lyrics, and the second wave of British punk, whose harder-edged strain—exemplified by Sham 69—distilled the glam-garage-reggae hybrid of the Sex Pistols and the Clash into a narrower but more aggressive template. Since 1995 he has remained the Lower Class Brats’ only unchanging member, fronting the Austin, TX street-punk outfit that borrows its visual style from the film and its sonic approach from those later punk bands. A run of singles, EPs, and compilation appearances was eventually assembled on the 2003 anthology Real Punk Is an Endangered Species: The Clockwork Singles Collection. The group’s first proper album, Rather Be Hated Than Ignored, arrived in 1998, followed by The Plot Sickens in 2000 and A Class of Our Own in 2003, both issued by Punkcore. Three years after the latter release, DeLarge reemerged with guitarist Marty Volume, bassist Evo, and drummer Clay, moved to the veteran indie TKO Records, and delivered The New Seditionaries—an album whose title referenced the Malcolm McLaren and Vivienne Westwood boutique, whose artwork echoed Jamie Reid, and whose sound drew directly from Dave Goodman’s early Sex Pistols recordings.
