Tim Green went on to help create The Fucking Champs, a mostly-instrumental trio out of San Francisco, and later Concentrick, a solo project with a focus on ambient music.

Nation of Ulysses was known for their far-left politics, their extremely physical live performances, and their unique take on punk culture and fashion.

"[1] In 1990, before the band released any official albums, Ian Svenonius was featured as teen-oriented Sassy Magazine's first "Sassiest Boy in America."

In a later interview, Svenonius explained the reason for the split: "Nation of Ulysses broke up because the epoch changed with the advent of digital music and the Nirvana explosion.

[5] Though relatively short-lived, Nation of Ulysses' influence has been substantial: they have been cited as influences for bands such as Glassjaw, The (International) Noise Conspiracy, The Hives, Thursday, Refused, Boysetsfire, Bikini Kill, Rocket From The Crypt, Antioch Arrow, The Locust, Death From Above 1979, At The Drive-in, LCD Soundsystem, Bis and Huggy Bear, among many others.

To this end, the liner notes of 13-Point Program to Destroy America states the band's aim "To dress well, as clothing and fashion, are the only things which we -- the kids -- being utterly disenfranchised, have any control over.

"[13] Nation of Ulysses described themselves not as a rock 'n' roll group in the traditional sense, but "as a political party"[14] and as "a shout of secession.

"[15] Allmusic's Steve Huey described Nation of Ulysses' philosophy as "a relentlessly provocative (and entertaining) jumble of teenage rock 'n' roll rebellion, leftist radicalism, anarchist punk polemics, and abstract intellectual rambling, [...] [which gives the sense of] an off-kilter, almost tongue-in-cheek approach to a 'perpetual 18-year old's' view of America, and life in general.

"[5] This tongue-in-cheek political attitude was echoed by a spoken-word introduction to the song "The Sound of Jazz to Come", from their 1992 Plays Pretty for Baby, in which the band describes themselves as "the seriously unserious, reverently irreverent, amoral moralists."

We aim toward the everyday fixtures of life, like aesthetics, sound, non-spoken things that are inherently political in nature instead of, like bogus politicians who focus on glossy surface issues which avoid any kind of revolutionary change.

The zines espoused what they referred to as "The Ulysses Aesthetic," which was a mix of 1960s and 1970s radical politics, French Situationist writings, and juvenile delinquency.

Svenonius described Nation of Ulysses performances as "an extraordinary freak-out kind of thing [...] really masochistic, lots of blood [...] cacophonous, and violent, and aggressive.