About the site
E-mail me
Back to main
|
|
The standouts of 2003. And a few flops too.
|
|
|
ARTIST OF THE YEAR
|
|
|
OUTKAST
A number one record. Two hit singles -- one that sat atop the pop charts while the other was number one on urban radio. Critical acclaim. Stylistic perfection.
|
|
|
BREAKTHOUGH ARTIST OF THE YEAR
|
|
|
DEATH CAB FOR CUTIE
With music that previously bordered on disposable, Death Cab produced one of the most essential records of the year. Two, if you count Ben Gibbard's work with The Postal Service.
|
|
|
LABEL OF THE YEAR
|
|
|
DOMINO RECORDS
Domino's dedication to artists who explore the experimental without denying human touch gave the label three of this year's Top 25 Albums.
|
|
|
PRODUCERS OF THE YEAR
|
|
|
THE NEPTUNES
Pharrell Williams and Chad Hugo continue to produce hit after hit and are responsible for three of The LARRY Page's Top 10 Singles as well as many more of 2003's most memorable radio pleasures.
|
|
|
BEST VIDEO
|
|
|
KENNA Freetime
A quirkly, narrative short film shot entirely below the knee, Kenna's "Freetime" is a clever piece of footage.
|
|
|
BEST ALBUM COVER
|
|
|
JUNIOR SENIOR D-D-Don't Don't Stop the Beat
As if the title alone didn't signal that Junior Senior's debut is a wacked-out party album, take a look at the album cover.
|
|
|
BEST SOUNDTRACK
|
|
|
VARIOUS ARTISTS Lost in Translation
Sophia Coppola's Lost in Translation owes a lot of its atmosphere to its indie-angst soundtrack. If only it included Bill Murray karaoking Roxy Music's "More Than This."
|
|
|
GUILTY PLEASURE AWARD
|
|
|
TRAPT
Trapt's super-catchy "Headstrong" could be heard everywhere from Headbanger's Ball to VH-1. Their juvenile I'm-angry-because-I-feel-so-alone message is pretty weak, but try not singing along.
|
|
|
BIGGEST LETDOWN
|
|
|
LIZ PHAIR
After Exile in Guyville, Liz Phair softened up a bit, but I always thought it just reflected her personal maturity. Her latest, an Avril-Lavigne-esque pop album, makes me think she's just slowly been losing it.
|
|
|
MOST OVERHYPED
|
|
|
THE STROKES
I don't get it. Why is it that The Strokes can get away with making songs that all sound the same, on an album that pretty much sounds the same as their previous album of songs that all sound the same?
|
|
|
