Sinai Vessel Bio:
One night after his band Sinai Vessel had finished playing a set, a newly won fan came up to Caleb Cordes and described his band as “punk for sissies.” For some reason, it’s stuck. “I don’t know why that’s resonated with me so much,” he laughs, “but it really has.”
Really, Sinai Vessel isn’t as sissy as they seem. After all, their 2013 EP Profanity is full of honest, overwrought moments—verses that climb into clamoring melodies, trickling lows interrupted by turbulent and gushing highs. It happens on “Cuckold,” where veering chords crash into each chorus, and on “Drown Around,” as Cordes’s husky voice floats on whirling guitars before they shatter, becoming jagged, jangling shards above which he must roar.
It’s Cordes's intellectual, literary lyrics that populate these songs with both narratives—characters, conflicts, settings, et cetera—and ideas. “I like to play music that’s loud and fast,” he says, “but what sort of holds me back are the things that I really was to talk about and the conversations that I really want to bring up.” Written during his transition to college, Cordes sees Profanity as a record about examining one’s preconceived perceptions, especially spiritual ones. Though the record opens with “Cats,” an unapologetic look at small town Christianity, it closes with “Index on the Oval,” a song that reminds the singer that there is meaning to be found in the universe as long as he continues to search: “It's neither far nor forever away / but hours, surely hours, / and surely not today.”
Of course, this could be why Sinai Vessel’s comes off as sissy—their preference for the cerebral rather than the physical, their scrutiny of social structures, their emotional and dynamic melodies—and what makes them unapologetically punk-rock. - Dane Erbach