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During the early stages of Yoko, three of the band's seven members got divorced, and band frontman Miles Kurosky had a break-up with his long-term girlfriend. As a result, Yoko has a much more somber and restrained sound than previous albums. That's not to say that it's a sad album - in fact, you're struck by how affirmative the songs are. Capturing the Dionysian aspect of tragedy, this album is a masterpiece from start to finish.

At first I didn't know what to think about this album. I mean sure, there were a few songs (namely "Lord Anthony" and "Wrapped Up in Books") that maintained the traditional Belle and Sebastian sound, but for the most part this was a radical change - think 70s pop. It's no coincidence then that on the Bowlie forums, a well-known Belle and Sebastian message board, many people left "Dear Catastrophe Waitress" off of their list of best albums. It wasn't really until several listens that I realized how great of an album DCW really is.

The sophomore effort of band The Shins deserves inclusion on any 'best of 2003' list. Slightly different from their preceding sleepy folk-rock album Oh, Inverted World, Chutes too Narrow puts the "rock" back in "folk-rock" and benefits from lead singer James Mercers' full use of his vocal talents. Highlights of the album include the single "So Says I," and "Saint Simon," a song that blends interesting chord changes, a catchy melody, and great lyrics (I'm a sucker for songs in a minor key). All-in-all, a terrific album.

Any group which combines the vocals, lyrics, and song-writing talent of Ben Gibbard of Death Cab for Cutie, the electronic skill of Jimmy Tamborello of Dntel, and the great voice of Jenny Lewis of Rilo Kiley, is bound to be good. And The Postal Service doesn't disappoint. That this immense pool of talent hasn't gone to waste is made clear listening to the album's first song, "The District Sleeps Alone Tonight," a song with infectious loops, mellow guitar and strings, and which ends with an incredibly catchy chorus that makes you want to sing along. "Such Great Heights," as well as the rest of the songs on the album, are just pure pop craftsmanship.

Radiohead hardly needs an introduction. Every respectable 'best of' list out there makes some mention of "Hail to the Thief." The album is experimental at times, yet not so much that it isn't pleasing to listen to. The album's opener, "2+2=5" is damn catchy, and "There There" (or is it "The Boney King of Nowhere"? God bless you Radiohead and your obscurantist ways) is nothing short of groundbreaking. I've been debating with myself lately over which is my favorite Radiohead album: "OK Computer," "Kid A," or "Hail to the Thief"... and over time it seems like "Hail to the Thief" might win out.

The best albums of this year (with the exception of new bands) seem marked by increasing restraint and attention to detail than bands' previous efforts. Beulah's Yoko for instance, where horns are featured in only one song, and they aren't staccatto. Or Radiohead's new album, which only barely beats out OK Computer in terms of radio-friendliness. And Grandaddy's Sumday is no exception. Nearly all the songs are written in the key of C, the song structures are relatively similar throughout the album, and Grandaddy's earlier experimental electronics are toned down quite a bit. What results is a flawless album, with extremely catchy melodies, perfect production, and masterful songwriting.

Pitchfork labeled this album a sleeper. That's not really fair. Although this album is relatively different from previous Death Cab for Cutie, continuing a trend that started with The Photo Album, in my opinion it's their best album yet. One thing which clearly sets this album apart from the others is the production - it's amazing. "Title and Registration" shows the influence of Gibbard's work in The Postal Service. "The Sound of Settling" with it's "ba pas" is maybe the most radio-friendly song Death Cab's come up with, and "The New Year" sets a stage and executes it with incredible skill.

I know, I know - Fountains of Wayne? The inclusion of this album will probably irreperably damage my Indie cred. I don't care. All things considered, this is a decent pop album. The only possible criticism of the album's single, "Stacy's Mom" is that it's "too catchy," which in truth isn't really much of a criticism. "Mexican Wine" is another song with flawless production and structure. The album's occasionally hit-or-miss, but the vast majority of the songs scream "hit."

Jangly guitars, catchy hooks, and interesting melodies - what else could you ask for? Granted, the female singer's voice grates on me - I have no idea why. Obviously though that wasn't enough for me to exclude the new New Pornographers album from my top list for 2003.

The critics very badly wanted the premier album of Blue's Clues pal "Steve" to flop - and, much to their chagrin, the album is incredible. Even Pitchfork gave it a good review - and for people as stuck-up as they are, that really means something. No doubt, the album benefits from the assistance of Steve Drozd, drummer of The Flaming Lips, as well as the aide of Lips producer Dave Fridmann. Upon listening to the album's opener, "Mighty Little Man," it's not difficult to understand why The Flaming Lips had an interest in Burns - this is epic-rock, through-and-through.