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Universal Order of Armageddon put out a few releases in the 1990's. They helped to revolutionize the hardcore and emo music scene in the early American hardcore scene.
Members include:
Anthony "Scott" Malat (The Great Unraveling, Love Life) Love Life was a Broadway musical written by Kurt Weill (music) and Alan Jay Lerner (book and lyrics). ...
Brooks Headley (Born Against, Skull Kontrol, Young PioneersWrangler Brutes) Born Against was a critically acclaimed left-wing, in-your-face hardcore punk band from New York. ... Czechoslovak pioneers A pioneer movement is an organization for children operated by a communist party. ... Formed in 2003 in Los Angeles, California, USA, Wrangler Brutes released a cassette, a [seven-inch record] and one full-length LP before breaking up in December of 2004. ...
Colin Busch
Tonie Joy (Born Against, Convocation of..., The Great Unraveling, Lava, Moss Icon) Born Against was a critically acclaimed left-wing, in-your-face hardcore punk band from New York. ... Moss Icon was an Annapolis, Maryland punk rock band from 1986 to 1991. ...
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Its to UniversalOrder of Armageddons credit that their recorded legacywhich, like many other bands, fits on a slim CDcan never be placed down into either of these camps or any of their subsets.
The most immediate reference point is Unwound, but UOA usually manage to squirm free of the confused, fucked-up rock with moments of beauty tag that characterizes their more embryonic work.
And this, finally, seems to be what set UOA apart from their peers; while punk collapsed into the self-parodic theatrics of Earth Crisis and their mosh-metal peers, or gradually fled for the shoals of deliberate lo-fi incompetence or gentle indie genericism, this band seemed determined to do something different.
I met Tonie Joy in the fall of 1993, when I organized a show for his band of the time, The UniversalOrder of Armageddon, on the second floor of the Elks Lodge in downtown Missoula, Montana.
And, in Baltimore, there was UniversalOrder of Armageddon, the band that had approached me for a show that summer by sending a mossy-looking little cassette tape wrapped in cardboard salvaged from a cereal box, full of obscure clangor.
His career since UOAs rather untimely demise at the end of 1994 (my reckoning, based on conversations with band members around that time and a possibly faulty memory) has been no less distinguished.
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