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Cheekface leans into the DIY mentality that makes it ‘America’s local band’

BBG News

Back in December 2017, the Cinema Bar in Culver City welcomed local band Cheekface for their debut performance. After more than seven years, numerous shows, and a fan base numbering tens of thousands, they were set to go back to the venue that kick-started it all on a chilly Valentine’s Day afternoon.

Unfortunately, Cinema Bar was unexpectedly closed, as was the doughnut shop across the street.

Mark ‘Echo’ Edwards, the drummer, finds it quite appropriate,” he jokes while masked and spectacled, as the group darts diagonally through Sepulveda Boulevard for the second time before finally resting at Maple Block Meat Co.

Greg Katz and Amanda Tannen, the singer-guitarist and bassist respectively, almost simultaneously reply with a witty banter: ‘For us or for Cinema Bar?’

Edwards’ comment was a playful jibe at the well-known Culver City bar, yet it’s also fitting for a group that labels itself “America’s local band.” Since their formation in 2017, Cheekface, an indie rock band known for blending genres such as ska and crabcore on their latest album “Middle Spoon” (released Tuesday), can be characterized as resourceful, unusual, and full of surprises.

As a fan, I can’t help but marvel at Cheekface’s unwavering dedication to the DIY ethos, even as they embark on their fifth album and a nationwide tour this spring. Unlike many bands that often let go of this mindset once they taste success, these three talented individuals have consistently applied the lessons learned from their diverse experiences in the music industry, whether it was through playing in other bands or filling various roles. Their commitment to using their skills for the band’s growth is truly admirable.

In essence, Tannen manages the visual artworks and merchandise, while Katz leverages his publishing background to ensure self-release of Cheekface’s albums without a record label. Additionally, Edwards brings his unique “glowing” skincare regimen to the table, as humorously suggested by the band. The group is known for its writing style that seamlessly blends wit and humor with catchy tunes on relatable topics, resonating strongly with their audience of mainly therapy-going millennials and Gen Zers.

Katz expresses that in terms of a project being successful, what truly counts is whether people enjoy the music and choose to listen to it. He emphasizes that as you delve deeper into such projects, this fundamental truth becomes even more evident. If you produce music that resonates with listeners, they will support your efforts to continue creating. Additionally, he believes that from the beginning, we eliminated the need for external validation for this band by essentially designing it to be something without much expectation.

According to Katz, Cheekface initially had no grand ambitions; instead, it was a joint endeavor between him and Tannen aimed at composing a few tunes for their personal wellbeing. They intended to post these songs on Bandcamp and possibly perform at a couple of backyard gigs. However, one local performance led to many more, with the band performing in numerous shows alongside friends’ bands throughout Los Angeles in 2018 and 2019 before the COVID-19 pandemic halted their touring schedules in 2020.

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By the end of 2021, live music made its comeback, and Cheekface had already released two albums – “Therapy Island” in 2019 and “Emphatically No.” in 2021 – marking the start of their career. They garnered a following of dedicated fans they call “Cheek Freaks,” who appreciate the band’s distinctive blend of humor, irreverence, and anxiety-laden pop-rock within the serious indie scene. This unique mix has attracted a diverse fan base that transcends generations, musical genres, and cultural landscapes across the United States.

Despite the challenging events that occurred in 2024, such as Katz’s father having a stroke and losing his grandmother, as well as Tannen experiencing a deeply traumatic breakup, they emphasize that “Middle Spoon” is neither a breakup-themed album nor one centered around the loss of a loved one.

As the ‘It’s Sorted’ album was coming out in 2024, Tannen explains, both she and Greg were experiencing significant changes concurrently. This included her breakup and Katz’s family tragedies. Additionally, she had recently left her full-time job to dedicate herself to Cheekface. With all the foundations of her life suddenly removed, she struggled to cope. Upon returning from touring, we both had to confront these changes head-on. So, I believe a significant portion of this album reflects on change, loss, and finding one’s footing again.

Katz notes that much of our music draws inspiration from self-improvement culture. In this culture, personal development is often idealized as a romantic journey involving breathing exercises and meditation which eventually leads to a more philosophical version of oneself. However, growth isn’t always planned; it often transpires when challenging situations arise, whether we want it or not. This process can be uncomfortable, awkward, painful, and may force us to confront parts of ourselves that we don’t particularly admire. This album reflects the unease we experienced while composing it as we navigated through this discomfort.

From an organizational perspective, the launch of “Middle Spoon” provides a fascinating glimpse into how Cheekface’s DIY machinery operates. Having dropped their last album in January 2024 and then embarking on a tour that ran through late May, the new album is already out just nine months after the band started writing it. Given their track record of releasing five albums (along with several EPs, covers, and other songs) within almost six years, this swift production pace is practically standard for the three-piece band.

Unlike many other artists who face delays in their music releases due to industry politics and perfectionist producers, Cheekface operates without such constraints, choosing to create and release new music as they wish, free from unnecessary delays.

Katz remarks, “Writing and playing music brings us the greatest joy, followed closely by recording it. So why restrict that pleasure? Since our band thrives on enjoying what we do, we should prioritize these moments. As we’re independent, there’s no one telling us to spread things out or delay our release. I admire bands like Bad Religion, who also self-produce their music, and between 1988 and 1994, they released six of their most iconic albums without any external pressure.

Initially, when Greg and I embarked on this project, our approach was more about enjoying the process and avoiding excessive seriousness, as Tannen points out. Essentially, we wanted to have a good time and produce some tunes, so most of the songs come together fairly rapidly. If a song requires months to develop, it might indicate that there’s something amiss with that particular piece, and perhaps it’s not suitable for Cheekface after all. We’re not striving for perfection here because perfection doesn’t exist.

In some groups I’ve been a part of, there’s an overemphasis on perfection that slows everything down, making it feel as though each song must be flawless. This mindset doesn’t allow for progress with ‘good enough,’ and it becomes incredibly aggravating.

Katz jokes that it’s not necessary to create a profound masterpiece every time we write, but rather, we simply compose the music that appeals to us.

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2025-02-27 00:31

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