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Magnet Magazine No. 52

"10 Hidden Treasures in 2001"
Suspend disbelief and imagine George Harrison coming out of his hermit cave to record an album for Robert Pollard's Fading Captain Series. Can't fathom that? Try the Capitol Years' old-fashioned, harmonic laden love songs, lollygagging blues and punch drunk bedroom rawk. So much warm and fuzzy throwback noise crammed on a four-track oughta be against the law.
 
CMJ Monthly Dec/Jan 02:

File under: If Beck was a Beatle
If Beck had infiltrated the Beatle's camp during the Abbey Road sessions, the result might have sounded like this worthy, low-key product of Philadelphia's minor indie-rock resurgence. Capitol Years main man Shai Halperin, who handles all the instruments on Meet Yr Acres and co-produced this debut with ex-Lilys bassit Thom Monahan (Pernice Brothers, Beachwood Sparks), happily flaunts his obsession with one or more of guitar-pop's three classic B's (the Beatles, Big Star, Badfinger) but it's what he doesn't do that makes his period-nostalgic approach special. Halperin's "why use four chords when three suffice" formula affords his simple melodies a hushed majesty amid the jarring loops and lolling instrumental interludes strewn about the album. The back-handed blues opener "Roller's Row" chugs along like "Why Don't We Do It In The Road?" in a Quaalude-induced stupor; the compact epic "Rolling Hills" and the jammy "Supper" pay their debts to David Bowie and Jerry Garcia, respectively, with eyes averted and tongue snugly in cheek; and the cozy pastoral cover of the Velvet Underground's "All Tomorrows Parties" sounds less like a quirky late inning interloper than a fitting finale. Meet Yr Acres' shiftless grace may not register instantly, but it'll have you in its crosshairs in no time.
- Hobart Rowland
 
Philadelphia City Paper

Fuck the Beatles. Cram Abbey Road— its achingly catchy melodies, Ringo ’n’ Paul’s pronounced rhythmic jitters, John’s distortion-pedal angst and gutbucket holler, George’s Dylan fixation and the group’s unified disgust with one another — into a meat grinder and you’d get the leaner, meatier greasier snack of The Capitol Years. Lo-fi in the very best way (courtesy ex-Lilys Tom Monahan and Peter Humphries’ fuzzy mix on TCY’s debut CD, Meet Yr Acres, on Full Frame), guitarist/howler Shai Halperin and his fellow North Philly bandmates Kyle Lloyd and Dave Daniels have made a messy melodic masterpiece that’s scabby and tough and slow and tender in all the right places. Whether you dig the country swoop of "Rolling Hills" or the leering loop-laced rock of "Roller’s Now," you’ll find Halperin’s smirky vocals, huffy harmonica and trashy tuneful guitars most addictive.
- A.D. Amorosi
 
splendidezine.com

Meet Yr Acres moves smoothly from tumbleweed-filled deserts to the clamor of the city. The opening track, which might as well have been sung by Modest Mouse's Cowboy Dan, is foot-thumping, beer-glass clinking fun, complete with rattlesnake sound effects. It also helps to reinforce the impact of "Here Comes...", which follows it. Here, Halperin reduces the music to a stripped-down, Friends of Dean Martinez-style acoustic drone. The bar is almost empty and our faithful narrator thinks he's still in love. He expects his lover to show up at any second ("Cause here comes my girl," Halperin slurs in the chorus). And for the next three minutes or so, we're treated to pure, washed-out, minor-sixth-based goodness. "Sitar Fixer" follows; it's an even more hush-hush affair, and it's all about a girl...sort of.
After the fun is interrupted by a noise that sounds like a stretched-out version of a gong-strike, Halperin shifts into more of a rock 'n roll mode. The music is still slow, as the alcohol still speaks and the cacti continue to groan. Songs like "Faces and Beer" and "May" could be labeled as cock-rock, if only they were only about five times faster. In their present form, their slow tempos create a pleasingly grungy yet introspective aesthetic.
Listening to Meet Yr Acres can take you from a fast ride on a tumbleweed to a slow ride in a taxi and back again. It's fun, but it's also diverse, intimate and tongue-in-cheek -- all of which amounts to a rare combo. I only hope that Halperin has enough energy to do it again, and soon.
- Josh Kazman
 
Ink19.com

We're probably a bit late with this review, considering the album was actually released last year, but there you go, and with music like this, late is definitely better than never. On this recording, The Capitol Years is, in effect, only one man, the splendidly named multi-instrumentalist Shai, Son of Eli, although you wouldn't believe it from the massive, panoramic multitudes he introduces here. Taking his cue from psychedelic-era Beatles, everything late-'60s Asbury St., and modern-day bedroom/lo-fi aesthetics, Shai shares parts of his vision with the Elephant 6 collective, but tends to rely more heavily on the darker, eerier aspect of psych-pop/rock. Listen, for evidence, to the slow, churning "Supper" or the hypnotic "May."
Not to say that this isn't music for the long summer nights, because it is, but there is a lot of shade in this music as well, complementing the Super-8 quality of the music. And, in a track like the stunning "Faces And Beer," there's more than a hint of Big Star, meaning, basically, that it's unbelievably good, really. One could probably argue that with music as seemingly disparate as this, there's bound to be a sprawling, uneven quality to the it - however, our man Shai impressively binds it all together, his singular vision and idiosyncratic approach shining through everywhere on the album. And so, despite the apparent dependency on former artists' musical glories, Shai manages to turn this into a highly personal and highly contemporary effort, which is nothing short of impressive.
Unmissable.

Popchild.com (Spain)

Attention to the lovers of lo-fi-pop-rock of great quality: The Capitol Years enters the record industry with a disc breaker. A little Beatles, somewhat of Beck in their principles, Tom Petty and atmospheres to the Guided by Voices could be some of the references that I propose to you so that you are located yourself in this disc that shines by to be addictive from this, the first listening.
Meet Yr Acres has been composed and interpreted by Shai, Son of Eli, ex- founder of the Mastercaster group. Eleven subjects that intermingle forceful guitars folk with melodías electrical, disquieting letters, distorted voices which they take step mainly to the most intimist whispers and, good, very good songs. In summary, when the sophistication of the pop one finds the authenticity of lo-fi more heartrendering, there they are The Capitol Years. And to end to us, the disc concludes with an extraordinary version of the subject " All Tomorrow's Party " de Velvet Underground: one is one operates solid premium and personal flood of sensitivity that harvests great successes on the part of the press in the United States; I hope soon happens the same in our country. Meet Yr Acres Has been recorded and produced by Shai, Are of Eli and Thom Moahan (Pernice Brothers, Silver Jews, Beachwood Sparks). It has been a great success of fullframerecords. A new seal of San Francisco that breathes passion by its work.
Very recommended!
 
[We don't know what some of that means either. Still, we love Spain.]
 
suite101.com

The Scoop: Frontman and founder Shai Halperin weaves together a diverse group of influences, the most apparent of which are Beck, Tom Petty, and The Beatles. The end result is a batch of pop songs as pleasing as any collection you’ll be hearing—indie or otherwise—any time soon.
Featured Track: “Faces And Beer” is one of the best late-night songs to come out this year. Brilliant.
Honorable Mention: “Roller’s Row” provides a great kick-off point for the album. Its swagger marches right into Vegas and takes over. “Lord, Lord, I’ve Gone Blind” is a song that could easily have been a one-off or a gimmick, but somehow manages to be strangely pained.
- Adam McKibbin
 
Yeah Yeah Yeah

One-man indie-as-fuck-a-thon Shai Halperin has come a long way since his late-night stints as a DJ on Rutgers University's WRSU-FM, where, if memory serves, he probably played They Might Be Giants' "Dead" more times than any jock in broadcasting history. But one can only play Camper Van Beethoven records on the graveyard shift for so long; and anyway, we all graduate eventually. Now, as the Capitol Years, the Philly-based multi-instrumentalist transcends all the Beck comparisons he's been saddled with on "Meet Yr Acres," a lo-fi portrait of the artist as a young slacker. Thom Monahan (Pernice Brothers, Lilys) produced, but this is Mr. Halperins show. "Faces and Beer" and the winning instrumental "What's Yr Problem?" are highlights of this full length debut, along with a nice-ass cover of the Velvet Underground's "All Tomorrow" Parties.
- Mike Cimicata
 
Under the Radar Issue No. 2

The "One Man Band" has always been a rare and precious commodity, simply because the odds are already stacked against him. Not only does he have to be extremely versatile and multitalented, but like every other good band he also has to have a certain amount of ingenuity.
Enter Philadelphia's Shai Halperin (a.k.a. Shai, Son of Eli) and his latest project, 'The Capitol Years'. The former Mastercaster band member wrote and performed all the tracks for The Capitol Years debut release, Meet Yr Acres, sharing production credits with Thom Monahan (J Mascis, Silver Jews, Beachwood Sparks). It may take a few listens for Meet Yr Acres to fully drip into your bloodstream but once it's there it's a sweet release. Lucky for the listening public the Son of Eli knows his musical influences enought not to belie them; instead he craftly pays homage to his musical heros with pure, modern, lo-fi pop. Imagine the catchy rhythm section of the Beatles colliding with the dirty art beauty of the Velvet Underground along with Dylan's smooth confessions swimming just under the surface and you may have come close to The Capitol Years.
"Rollers Row" busts open the album like a drunken Beck rallying a crowd, yet finding time to give his undivided attention to a pretty young girl in the front row. "The girl with the feathered tongue/ She's just 36,000 years young/ She's alright." The following songs tone themselves down only to reveal certain surprises contained within, such as "Sitar Fixer", an innocent acoustic beauty with broken vocals reminiscent of Nick Drake for the first half, yet closes with soldiers machine gun firing drum and gong. "Here Comes..." is a comley song undermined by vocal distortion, intoning profound guilt and remorse toward a lover. "Don't you remember all your friends/ They were all laughing at you then/ All your money I did spend" croons the troubled troubadour. "Rolling Hills" sounds like Dylan circa 1967, sitting alone in his hotel room strumming his guitar, when suddenly George and Paul show up to add harmonies on the bridge and chorus. The guitar solo alone would have made the late Harrison proud.
The latter half od the album goes astray here and there, with "Supper" sounding like the Grateful Dead's "Truckin'" on valium, and "what's yr problem?" albeit a good track, sounds oddly out of place with the impromptu use of a drum machine resounding a dance beat. Rounding out the album though, is the perfect cover of "All Tomorrow's Parties", a sure tribute to those who have influenced The Capitol Years.
After all is said and done Meet Yr Acres succeds far more than it fails. We only hope The Capitol Years' Shai, Son of Eli, hasmore of the same up his sleeve in the future.
- Marcus Kagler
 
musicemissions.com

Meet Yr Acres is an experimental project for the most part. Shai can do it all too. Let’s start with the last track on the album; he does a great version of the Velvet Underground’s “All Tomorrow’s Parties”. He can play upbeat rock tracks and slow things down into a slowcore affair. The one thing his songs all have in common is that they have a huge dose of melody in them. The Capital Years is completely strange and loud at points and at others downright funky. For any fans of wacky Elephant Six styled music, you will totally enjoy the Capitol Years. Also, fans of any type of experimental pop music filled with delicious melodies should look out for The Capital Years. I still can’t get over Shai’s cover of “All Tomorrow’s Parties”. One more time isn’t going to kill me.
 
Music Morsels, Georgia:

Roller's Row the lead track on the new CD by The Capitol Years makes you think of the Beatles more psychedelic era right off the bat. But there is something just below the surface, just in the background that keeps it from being total mimicry. This becomes more evident on Here Comes... which gives a twisted American folk slant to the Brit-pop stylings. The passionate vocals with striking harmonies adds a heady dose of flavor to the music. The across the ocean influences really come to fruition on Faces and Beer, a song that sounds like what might have happened if Bob Dylan and John Lennon sat down to write after doing a couple tabs of good Mr. Natural and then letting Bono sing the result with some harmonic assistance. The music is passionate albeit a tad melancholy, the type of songs that will make you relax but you will be relaxing with a big smile on your face.
 
Entertainment Today - Los Angeles 8.01.01

One must be wary of press releases. Warning sign #1: Bands that claim to be “Pixies meet Bob Dylan by way of Kate Bush and Dr. Dre” often turn out to be terrible, terrible bands. Warning sign #2: Approximately 1/3 of upstart American and European bands manage to work “Radiohead” somewhere into their promotional material. One must proceed with caution.
Along comes The Capitol Years. And damned if they don’t sound like early Beck and Elliott Smith and, yes, even The Beatles. Really. But not really. Allow me to explain.
Meet Yr Acres is one of the finest indie albums of the year to date, the result of a one-man band from Philadelphia known independently as Shai, Son of Eli. Aside from his name-choosing genius (what’s a better band name than the box-set-sounding Capitol Years?), Shai is a deliciously smart songwriter who’s not afraid to wear his influences on his sleeve. His ear for contagious pop melodies is unmatched by most of his contemporaries. “Roller’s Row” is the romp that kicks off the album, a Mellow Gold style rocker with plenty of attitude. “Faces and Beer” is the album’s best song, a jangly number that lends itself perfectly to the open road at the close of the day. “Siamese Suns” and “Rolling Hills” are also stand-outs; the former a quiet epic, the latter a hazily festive sing-along. Less effective are the songs that fly too close to the sun of their influences. “Here Comes...” owes too much to Tom Petty, and the Dead-like meandering of “Supper” seems out of place. As a closing piece, the cover of “All Tomorrow’s Parties” is inoffensive but unspectacular. As a whole, though, Meet Yr Acres is a wonderful delight. Like the ever-loveable Beck, Shai effortlessly blurs and bends genres and keeps the momentum intact throughout. This one is well worth your while. For more information (or to listen to selected tracks and purchase the album), visit www.capitolyears.com
- Adam McKibbin
 
All Music Guide (4 stars)

The solo debut from Mastercaster founder Shai Halperin, aka Shai, Son of Eli, the Capitol Years, who have since expanded to become an actual band, have taken a good first step with Meet Yr Acres. Generally a lo-fi affair, with tracks like "Roller's Row" and its steady garage band drive, feedback-soaked solos, and distorted vocals recalling Guided By Voices, the Minders, and Wolf Colonel, Halperin displays a similar penchant for memorable pop hooks, as well. Still, in more pensive moments, such as the country-tinged "Faces and Beer" and stripped-down "Here Comes...," Halperin almost recalls a Beck sensibility. While the soaring choruses of "Rolling Hills" seem to borrow melodically from Mott the Hoople's "All the Young Dudes," Halperin's multi-tracked voice and lush passages are indicative of a more sophisticated pop aesthetic layering below the {\lo-fi} exterior. To be sure, "Supper" sounds like the Grateful Dead channeling Rubber Soul-era Beatles, just as Halperin's hypnotic cover of the Velvet Underground's "All Tomorrow's Parties" shows a reverence for the masters. Altogether, an extraordinarily solid study in deceptively primitive sounds.
- Matt Fink
 
audiogalaxy.com

Smothered in Aliases:
Did you tire of Guided by Voices shortly after they leapt from the twisted track that had given the world Bee Thousand onto a straighter, brighter, more boring track Robert Pollard hoped would take him (guided by Cars) into the top-40 metropolis? I did. That, together with my love of Beck’s Mellow Gold and Ween’s The Pod, gave me cause for rejoicing when I cued up Meet Yr Acres, the first release by The Capitol Years, which is cut from the same unwashed cloth. Capitol Years frontman Shai, Son of Eli (true to indie tradition, this band is buried in a layer of facetious monikers roughly a mile thick) has either listened closely to the aformentioned records or consumed a lot of the same substances as their makers, because Meet Yr Acres is a grimy, mellow, utterly likeable record that stands proudly, if a bit unsteadily, with the best and most lo-fi work of Mssrs. Hansen, Ween, Pollard, and John Frusciante. This is not to say that the music of the Capitol Years is excessively derivative – Shai, Son of Eli (I’m already getting tired of writing that name – it makes me feel a discomfort akin to having to tell a Denny’s waitress in my best grown-man voice that I’d like to order “Moons Over My Hammy”) brings to the table a twisted twang and a wicked melodic sense all his own. Never sounding exactly like Pollard or the brothers Ween, SSOE is just as likely to channel Paul McCartney’s gift for instantly hummable pop, Tom Petty’s reedy vocals, or the lycergic dreamscapes of Syd Barrett. This kind of lo-fi psych pop is so likeable – both super-arty and utterly unpretentious – that it has a long way to go before it overstays its welcome.
- Will Robinson Sheff 5.30.2001
 
Aquarius Records, San Francisco

From totally out of the blue comes this surprisingly wonderful pop record. Capitol Years combines the gravelly-voiced lo-fi anthems of Sparklehorse and Tom Petty, the pristine pop of Paul McCartney, and the hazy vocalising of Pink Floyd, and comes up with a nice fresh take on that sound. The songs are instantly addictive, most featuring chord changes that twist the heart wonderfully, and if you're a little over the fey castles'n'rainbows aspect of the Elephant 6 posse (who we love!), know that Capitol Years is free of that. Highly recommended; I like this more every time I hear it. (Maybe I should pull "an Andee" on Andee and play this so often that he starts to like it as much as I do -- shh, don't tell him.)
 
www.epitonic.com

Not just the name of couple dozen artists' box sets, but also the name of an artist, one most decidedly not on Capitol, it should be noted. That artist is a Philadelphia mischief-maker who goes by the name Shai, Son of Eli -- that is, when he's not working under the guise of his pop-rock alter ego, The Capitol Years. Now what does said pop-rock alter ego sound like exactly? A difficult question, indeed, as Shai/The Capitol Years is a self-confessed genre-hopper, but there's a little of the lo-fi jounce of Bob Pollard and Guided by Voices, a little bit of the droning, morose indie folk of early Elliott Smith, a little of the cracked, spacey rural weirdness of a Sparklehorse. There are hints of classic American rock here and there -- Tom Petty and even The Grateful Dead -- and a lot of just plain perfect pop. Shai sings in a pleasingly gravelly drawl that gets in your head. The Capitol Years' debut release, featuring the outstanding production work of Lilys bassist Thom Monahan, is called Meet Yr Acres, and features "Roller's Row," "Faces and Beer," and "Supper." Apparently, Shai has recently recruited some co-conspirators and therefore The Capitol Years can no longer properly be referred to as a "one-man band."
- J. Ashlock
 

splendidezine.com Jan.29, 2001

(This is from poor poor records' pre-release of Meet Yr Acres.)

Shai, Son of Eli / Meet Yr Acres / Poor Poor (CD)

Shai, Son of Eli, may actually be the cousin of Built to Spill's pole-punching electric rock, or perhaps the brother to the elegant and raw deceptive practices that are Robert Pollard. The enigmatic Shai, Son of Eli is a quietly troubling, homely man who engages the light use of backing instruments as he glides through song after song of personal mental battles. And while most guitar-slinging soloists fall into the stereotypical waste-hole of overdone singer-songwriter-lite un-rock, Shai’s whispering vocals and varied styles keep you guessing as to what’ll emerge from his perplexing imagination and spill from his callous fingertips onto the fretboard. Is it countrified rock? Experimental guitar gone haywire? Maybe it’s just a good reason to get lost for good in music...
- am