20 Signs of Life From 2003

Joe Strummer & The Mescaleros - Streetcore

With its Marley-esque reggae filtered through fermented British trip-hammer punk, its subtle, sometimes menacing dashes of elctronica, and its thoughtful rock’n’roll—poured out by a wise old luminary with a voice burning like a 1,000 packs of Camels, Streetcore proves Joe Strummer still had it. Still had Something to say. Still had the same fire within—only it had been stoked by the wisdom of 50 years on this planet. He will be greatly missed.—Steve LaBate

Rosie Thomas - Only With Laughter Can You Win

No longer the endearingly optimistic ingénue of her debut, Thomas grows into creative maturity with her sophomore effort, emerging as a more artistically confident but no less sincerely human voice, broadening her sonic palette and thematic possibilities without sacrificing her apparently innate sense of direction.—Matt Fink

Radiohead - Hail to the Thief

This is the band’s most conventional set of songs since Ok Computer elevated it from two-hit wonder to world’s most lauded rock band. Hail To The Thief arrives at a fascinating middle-ground between Radiohead’s electronic noodling and doom-drama rock epics, again managing to be entirely contemporary and futuristic in the same moment.—Matt Fink

The Thorns - The Thorns

Was there anything else fans of dense, polished, wall-of-sound harmonies could have asked for this year? With the presence of not one, not two, but three great songwriters—Matthew Sweet, Shawn Mullins and Pete Droge—The Thoms’ debut is a keeper, especially for fans of Crosby, Still and Nash.—Andrew Nelson

Dan Bern - Fleeting Days

Melody, hooks, musical variety, introspection, social commentary, playfulness, lyrical acumen—Fleeting Days (as with most of Bern's catalog) has it all. While lacking the gravitas of songs such as "God Said No" and "Lithuania" as well as the hilarity of "Talkin' Al Kida Blues," there is enough heft, humor and humanity to make this a standout release.—Tim Porter

The Pernice Brothers - Yours, Mine & Ours

Arguably one of rock’s most neglected geniuses, Joe Pernice possesses a seemingly inexhaustible resource of melodies that show no sign of running out. His band’s third release, Yours, Mine & Ours, is a more straightforward, live-in-the-studio-sounding affair that doesn’t break any new ground for the former alt.country darlings but further solidifies their status as a leading proponent of smart, hook-laden indie pop.—Matt Fink

Beulah - Yoko

It was rumored that if Yoko didn’t move a half-million units, the band members would split, heading off in search of more stable employment than that afforded by being indie rock’s leading proponents of psychedelic sunshine pop. Yoko is by equal turns Beulah’s audition for large-scale success, their most personal, least layered effort, and their most maturely despondent release—a fitting final statement should it turn out to be so.—Matt Fink

Stephen Malkmus and The Jicks - Pig Lib

Former Pavement frontman Stephen Malkmus' latest album with The Jicks is a diverse, improv-heavy set of indie rock complete with angular, drop-of-a-hat rhythmic variations; lead guitar that opts for interesting, exploratory solos (rather than showy ones), solid, yet quirky songwriting and incredible musicianship.—Steve LaBate

Limbeck - Hi, Everything's Great

Clean, biting guitars playing huge pop hooks are littered about this sunny-day masterpiece from SoCal's Limbeck. And even though the band has traded a dab of distortion for a teaspoon of twang, it still knows the recipe for a batch of damned good rock songs.—Grant Shellen

The Incredible Moses Leroy - become the Soft.Lightes

On become the Soft.Lightes, Ron Fountenberry (a.k.a. The Incredible Moses Leroy) appropriates the joyous strains of laptop pop, creating daydreamy, sun-drenched tunes about love and the brighter side of being alive. This record is the soundtrack to a smile, bouncing electronic and acoustic riffs forming a soft pillowy foundation for Fountenberry's voice. You can hear this guy's love of music bleeding through every note in the mix.—Jason Killingsworth