Vessel is the third album released by the American musical duo Twenty One Pilots, which was released on January 8, 2013. It is the band's first studio album released via Fueled by Ramen, and their major-label debut album.
High-school colleagues Tyler Joseph, Nick Thomas, and Chris Salih formed Twenty One Pilots in 2009. The group released their debut album Twenty One Pilots. Both Thomas and Salih parted ways with the band in 2011. Soon afterwards Josh Dun joined the band; Joseph had been friends with Dun for around a year. Joseph first saw Dun when he was playing a show with House of Heroes. Joseph said that he "loved" the performance. The band released Regional at Best later that year. In June, the duo played their first out-of-state show to a group of 12 people. The pair soon gained popularity through a series of videos made by friend Mark Eshleman. The band played their last show as an unsigned band at the Newport Music Hall in Columbus, Ohio to a crowd of 1,800 in attendance. The band signed with Fueled by Ramen in 2012.
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In an exclusive commentary made for Spotify, Joseph revealed details behind many songs and the album. Whilst talking about the song Migraine, Joseph expands on what it's like to put out songs with meaning to him, and how they connect with other people.
Recording for Vessel took place at Rocket Carousel Studio, located in Los Angeles, California with Greg Wells producing. Wells provided additional synths, keyboards and programming. Wells mixed the album, while Ian McGregor helped with recording. Mastering was performed by Howie Weinberg and Dan Gerbarg at Howie Weinberg Mastering, also in Los Angeles.
In the summer of 2012, Twenty One Pilots released the Three Songs EP, which featured the tracks "Guns for Hands", "Migraine", and "Ode to Sleep". On September 11, "Holding On to You" was released as a single. On December 18, the album was made available for streaming via Entertainment Weekly. Vessel was released through Fueled by Ramen on January 8, 2013. The two elderly men pictured on the album cover are Joseph and Dun's grandfathers. The pair did it to see what the label's reaction was and when the label said yes the group said "Okay, maybe this is going to work!" In an interview, Joseph spoke on the meaning behind the album's name, saying that a vessel (our body) is an object carrying something far more important than the outer shell, and when we die, that is set free and lives on.
To help support the album, the band toured internationally throughout the year. "House of Gold" was released as a radio single on August 6, 2013. On September 15, "Fake You Out" was released as a single. On October 4, the music video for "House of Gold" was released. The video was directed by Warren Kommers and filmed on Will Smith's ranch outside of Los Angeles, California. "Car Radio" was released as a radio single on March 18, 2014.
The album is available on CD, digital download, a limited edition Clear Vinyl, and a limited edition white cassette. All physical copies are available through the Official Twenty One Pilots Store (store.twentyonepilots.com). Hot Topic released an exclusive red vinyl, which is no longer being sold by TOP or Hot Topic, and is worth around $80 - $200 on eBay, depending on physical condition.
The album's cover features both Dun and Joseph's grandfathers on the left and right respectively. Photography for this album was done by Reel Bear Media. Art Direction and Design was done by Reel Bear Media and Virgilio Tzaj.
In May 2015, it was announced the album had sold 265,000 copies in the United States. The album has consistently sold more than 1,000 copies a week since its release. By December, the album's U.S. sales stood at 375,000. In July 2016, the album received Platinum RIAA certification, indicating over 1,000,000 domestic sales. On July 31, 2019, Truce received Gold RIAA certification, making Vessel to be the second Twenty One Pilots album to have every track RIAA certified, and making history for the band as the first act to have two albums with every track RIAA certified.
TJ: There was a guy I was playing with that I met through high school, and he ended up introducing me to Josh. They had worked together at Guitar Center. It was just one of those really organic type of friendships, where you just meet somebody at a job. He introduced me to Josh, and when you meet someone, you're like, "Hey, yeah, let's hang out sometime." I don't know how many times I say that and it never happens. Well, this one actually did happen, we actually did hang out once. I'm glad that we did because the first time we did, we stayed up until all hours of the night talking about our dreams and our goals when it comes to music. When I got to that conversation, I was like, "This is a guy I want to play music with." So, we just met through mutual friends and a good talk, and we're still going strong.
TJ: There are a lot of programmed elements to it, so someone might think it's very "in the box" or pushing over to the electronic side, or however you want to classify it. We've played a ton of different shows, and we've really been through that whole thing of trying to figure out how to put on the best show there is regardless of the resources. Even if it's a horrible venue--a bar that barely has a PA and no lighting--we're still there trying to get somebody to not forget us. Now that we have some of these higher profile opportunities to play, in no way is it like, "Oh God, we actually have to play these songs live. This is going to be tough." It's not an ounce of that. It's like, "We've been doing these songs live, we've been playing off of each other live as just a two piece, and we've run the gamut of different types of shows. We really feel like we're ready for anything. Someone asked me what I had to do to get ready for our moment. Well, you had better be really prepared, and you better have worked your butt off. You better have played the awkward shows; you better have played the shows where it's all hardcore bands on the bill or it's all hip-hop bands on the bill. We've done that whole spectrum of different varieties of shows, and we've figured out the best way of capturing the audience and taking them to a place where they will have an experience that they will never forget, whether they don't like it, or they actually resonate with what we're trying to do. So, we do utilize electronics when it comes to backing tracks, and it's our job to put on such an entertaining show that you don't even realize that that's what is going on. The point is to give someone an experience that they won't forget, and that maybe they can get something out of, so that's what we try to do.
TJ: We've been doing this ourselves for long enough that we have complete control of these tracks, and truly, that's the easiest way because I can look at Josh and go, "What do you think about doing this?" Then I can go to the computer, structure it out, and we can just play through it. It's really an easy transition. Pretty much all the programming on our CDs is done by me personally, so I've kind of been able to have complete control of what sounds I'm looking for to complete a song. I'm realizing now that the structure of the songs and how they're put together is a little odd, I guess, and that's really because I had complete control from the very beginning of where those songs were going. And I didn't know that there were many rules in music when I first started writing.
TJ: Here in Ohio, the hardcore scene is a big thing, so some of our good friends are in hardcore bands. So we've had to figure out how the heck we get these people to respect us. Those have been some of my favorite shows, actually.
TJ: I think throughout the day, there are always lines or certain words, and I'll just keep notes in my phone. It might just be one or two words, and then, that could inspire a whole song, lyrically. But really what I do musically is sit down and say, "I want to write this song." I have an idea and a feel about where I want to go with it, and I find it inside of my programming. I use a lot of replacement and MIDI in a lot of these programs, which help me find the sound I'm looking for. I put together a song, and then I lay down vocals, and that was what I did for so long. Those were our CDs, and that's how we started out at a local level. You burn a few copies of them, and then you try to get someone to buy them at your merchandise table, and if not, you just hand them out. I still do that to this day. That's one of the things that's cool about having a major label behind us is that we can demo all these songs out, get them pretty well set, and then go into a studio that really prides itself on getting the right tones, being able to mic drums, and being able to incorporate more of an organic feel into a song. I come up with the music, and my favorite thing about music is just the chord structure. I love chords and how they kind of rub up against each other. Then from there, a song just kind of grows.
TJ: Regional At Best really is just a glorified mix-tape that we used as a background to solidifying fans, and it's been kind of our follow through. When you start a band, you need to have some sort of music for people to go home with. I sat down in my studio, and man, I cranked out songs. I don't know the ins and outs of being a professional engineer, but what was really cool is that when we went into the studio, there was a lot of the same programming, and even a lot of the same vocals. The vocals to "Holding Onto You" were ones that I recorded in my basement before we ever got signed or anything, so we were able to take those files and put them where they needed to be in the mix. I'm really excited for people to hear it.
TJ: He's the coolest guy I've ever met. He's super-intense when it comes to the live show--he just puts everything into it. He's one of the most genuine, nice guys I've ever met, which might surprise some people because of how intense his live show is. When it comes to creating the stuff in the studio...his thing is that his role is to be there to make the live shows the best damn shows they can be, and of course, we use a lot of his stuff in the albums. I really couldn't have dreamt of a better guy to play music with. 152ee80cbc
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