Fact or Friction

Here Are the Facts You Requested drags indie rock into the realm of performance art -- and soul music

Here Are the Facts You Requested received its first piece of fan mail in 1991. The package -- a note and a blurry photograph of its author -- came from a cello-playing high-schooler named Akire Lessey, and though it was addressed to everyone, it was really intended for just one member.

"Akire saw a show, apparently fell in love with Eugene, and sent us this piece of mail," says guitarist/vocalist Eric Laine, who has a decade's worth of hand-drawn fliers spread out on the table in front of him. "I still have it somewhere."

"Yeah, Ishould have that," says multi-instrumentalist Eugene Chen, from where he and now-wife Lessey sit on matching magenta easy chairs.

Jeff Simon

The couple lives in an adorable home on the not-so-adorable south side of Potrero Hill, beneath a procession of pastel housing projects. Their cozy abode boasts a ferocious-looking dog named Lama, a wall of CDs and cassettes, and a Technicolor basement recording studio.

It's in this space that Here Are the Facts You Requested -- or HATFYR, as it's often abbreviated -- usually resides. Deemed too bizarre for Baltimore, the punk-dominated city in which it was founded, HATFYR brought its genre-bending dream-pop west seven years ago. But after playing Bottom of the Hill and similar local clubs, the musicians realized their pieced-together psychedelia was best received at less conventional venues. The quartet began carving out a niche in the Bay Area's underground art community, garnering a reputation through oddball gigs, meticulous studio work, and a head-turning, soul-infused groove far afield from its indie rock peers. And with their new album, Felt, the musicians have created a record more like modern art than trendy pop pastiche: Its pleasing surfaces reveal sonic shades and textures that grow more complex with each listen.


Alternately sipping coffee and Miller Genuine Draft, the members of HATFYR explain how they came together. Though the combo formed in Baltimore in 1991, the idea actually began brewing when Reading, Penn., natives Chen and Laine met on a playground in the third grade.

"There was a smooth progression from having sleepovers and doing fake radio shows into a tape recorder to actually having a four-track and starting to make music," says Chen, looking younger than his 33 years with short-sheared black hair and scattered facial hair.

When the pair finished college, they moved to Baltimore to start a band. They found their drummer, L. Bill Miller, after placing an ad in a local altweekly. Instead of outlining musical influences, the advertisement simply fired off a list of phrases, including "pop theory," "revolution duty," and "pow-wow auditions."

"I was intrigued," says Miller, 32. "I said, 'You're not really telling me what kind of music you're making,' and Eric's response was, 'Well, it's somewhere between Shriekback and Neil Diamond.' And with that I was like, 'I'd love to audition.'"

Next the group needed a name. One day, Chen was making photocopies at work and came upon a bunch of stickers that read "Here Are the Facts You Requested." He put one on his guitar and swiped the rest of the roll.

"We didn't have a whole lot of money, so if the stickers were already made, [we figured], 'Here we go,'" says Laine, 33. Gesturing around the house, he jokes, "All of this stuff is stolen office supplies."

Lessey discovered the trio when she was a teenager playing cello with the Baltimore Symphony. "I saw them at a gig," says the flaxen-haired musician, now 28. "I was stalking Eugene, because I was just a horny high-schooler." Soon after sending that piece of fan mail, she was asked to audition.

"The idea of a cello in the band was appealing," remembers Laine, "especially cello played by a woman who's barely taller than the cello and who played it while dancing."

After growing tired of Baltimore's narrow-minded rock scene, HATFYR relocated to San Francisco in 1995, where it took to tinkering in its basement workshop, Abandon Studios. (In order to help fund its efforts, HATFYR records other local artists there, among them Sonny Smith, Subnautic, and DJ Zeph.) The resultant first album, 1998's Shocks + Struts, was hard to classify -- a somewhat abstract sound collage riddled with Lessey's dreamy cello layers and Chen's synthesized bass lines. "Shut Up" wove funk-infused riffs into an amusement-park atmosphere, while a surreal and sultry version of Prince's "1999" featured plucky acoustic guitars.

"Shocks + Struts had a very planned methodology -- get really baked, have a pastry or two, and end up with 60 minutes of tape," says Chen, who also handles guitar, vocal, and electronics duties. "Then, we mine that material. We put things down spontaneously but then put them into a reasonable structure that people can understand."

What set the band apart from its peers was the lack of humble tape hiss and off-balance amateurism often associated with home recording. That professionalism was partly due to HATFYR's veritable fifth member, Ben Conrad, a freelance sound engineer who'd worked at Fantasy Studios in Berkeley and Wide Hive in S.F.

"I'm a patron, and I really love the music and the attitude," says Conrad. "Here Are the Facts You Requested really just embody what the independent record label movement is all about: Keep the inspiration and not concern yourself with selling a lot of records."

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