2003年，Radiohead发行了乐队的第六张录音室专辑《Hail To The Thief》。主唱Thom Yorke那近乎病态的呻吟声，游离的吉它和弦，迷幻而缥缈的电子合成音，一直以来都是radiohead音乐的基调，也是radiohead立足于另类音乐歌坛的杀手锏。在相继推出了几张颇受欢迎的专辑以后，radiohead也在经受着考验，同时他们也在不断的变革与创新当中。融合了部分R.E.M. 和Nirvana身上的音乐元素。不仅有R.E.M.的迷幻和假声，而且在高潮部分还有Nirvana般简单的释放。
“2+2=5”和“Sit Down. Stand Up.”创作于两年前，开始阶段如慢慢上涨的洪水，并没有感官上的宣泄，在一阵低沉的压抑之后Thom Yorke终于爆发。“Sail to the Moon”加入了钢琴的伴奏，灵魂乐渗透了整首歌曲。专辑中的破碎，游离，迷幻和挑战性等方面与乐队上一张专辑“Amnesiac”几乎没有什么变化。 “A Wolf at the Door”前奏清新，但从Thom Yorke发声的那一刻起，其连续不断的呻吟使人产生了头晕目眩、半睡半醒的感觉。Thom Yorke运用自如的假声和迷幻的音乐风格，可以深刻的感受到Pink Floyd和R.E.M.对radiohead的影响。
这张RadioHead发行于2003年的唱片有个我喜欢的中文名字-<贼鹊篇>,我想这是因为我喜欢村上的缘故.实际上,这个奇怪的名字的确来自于村上春树的小说.乐队的贝司手Colin　Greenwood说:"我看过村上春树的<发条鸟年代记—鹊贼篇>.书里的概念是我一直想传达的:黑暗会笼罩人类,而人们根本不自觉,他们觉得自己正在伸张正义,但这就是法西斯和无知的开端.这对我而言,才是真的'贼'."2003年的春天,这张唱片的原名在战火纷飞的日子里诞生.当时全球一片反战的声浪,"Hail　to　the　thief"是在布什胜出选举后美国群众反对呼声中的一个口号,讽刺暴君的诞生.
作为RadioHead十年来的地6张大碟,虽然有一个颇具反抗意味的标题,但在音乐上却与十年前"爬行"时的狂燥血和少年心气相去甚远.气质上,似乎更加接近于上张专辑<Kid A>的电子迷幻.温和,阴暗,荒凉的实验色彩依然弥漫在整张唱片中.微细的电子噪音不断冲击着耳膜,声音悠远,色彩暗淡.虽然在有的曲目里,比如"There There",还能听出些依稀的力度,然而,也全都笼罩在一层迷雾般的电子糖衣之中了.主音Thom　Yorke的声线如古堡幽灵般游荡,更是把抑郁发挥到了极致.另一首"Myxomatosis"作为整张唱片中最为"摇滚"的曲目,其中充斥着变形的Fuzzed　bass声效,宛如那剂众多摇滚乐手都尝试过的致幻药-LSD.
而在歌词上,则也是写得精致而充满隐喻.虽然相较于之前的<Kid A>,好象是正常了许多.但是却都出奇的冗长.由于外语水平的限制,至今没能看懂一首完整的歌词.在每首歌的标题之后,还有个奇怪的副标题,更是显示出神秘的实验主义色彩.
实际上，或许你会认为我并不了解真正的RadioHead.在2000年那张迷幻又迷幻的<Kid A>问世之后,许多人带着失望离开了RadioHead.而我却恰好是那个时候认识了这支异质的乐队.是在某本杂志上看到<Kid A>的介绍,唱片的封面让我印象深刻.然后,第二天,就在音像店里看到了这张唱片.还是高中生的我居然想也没想就花N十大元买下了,奇怪.于是坠入 RadioHead编织的电幻深渊,无可抑止.
我想我只是喜欢这样的RadioHead.抑郁的,阴暗的,迷乱的RadioHead.虽然很多曾经喜欢他们的人因为这样的转变而离他们而去.然而我却是喜欢的.我觉得,他们就是这样一群神经质的孩子,纤细,敏感,抑郁.引用一个已经离开 RadioHead的网友说的：(他们的)音乐极尽压抑郁闷之能,让你在这样的听觉效果中自残!仿佛是面对着那永远无法征服的黑暗,你所能做的,唯有睡着或是死亡.

Amy Jade Winehouse was an English singer and songwriter. She was known for her deep, expressive contralto vocals and her eclectic mix of musical genres, including soul, rhythm and blues and jazz.

Duly impressive is the shear magnitude of Skywave's sound. At live shows, the band is known for soundchecking at half-volume, then cranking it all the way up at curtain time for an unsuspecting soundman. Bassist Oliver Ackerman designs his own effects pedals, including the Supersonic Fuzz Gun and a series called Total Sonic Annihilations, which Skywave employ to help achieve their massive sound. His clientele includes Keith Fullerton Whitman, who used FX-pedal-augmented, laptop-produced guitar tones to construct 2002's beautiful Playthroughs. Synthstatic is similarly experimental in its delicate treatment of extreme noise, and its oscillating high-volume dynamics more than live up to the band's promising URL. The record even sounds potent on laptop speakers.
If only for its formalism is it impossible to call Synthstatic a great album. Bands following similar formulas in different genres might be pilloried, and Skywave will doubtless endure their own share of derision. But some forms of rock, given an occasional tightening of the bolts, never seem to grow stale. Had it been released 15 years ago, a work of this songwriting caliber would likely have been wildly acclaimed. As it is, Synthstatic lacks any shred of originality, but is probably the best of all possible end-results from a monument built completely out of scrap material, a shoegazing "Junkyard Workshop" that, like any successful tribute, enforces the significance of its forebears while managing to hold its own ground.

超感樂隊是一支來自英格蘭康沃爾郡彭贊斯的後英式搖滾樂隊。其在2004年9月27日發行了專輯《The Invitation》和單曲《Thru the Glass》、《Do No Wrong》、《Into the Fire》和《The Salt Wound Routine》，其中前三首單曲進入了UK Top 40榜單。

Take Them On, On Your Own is the second album by Black Rebel Motorcycle Club. It was released in 2003.
The album has a darker, harder rock sound than their debut album, and also contains more politically-themed lyrics. The album reached #3 in the United Kingdom music charts despite receiving mixed reviews, and is almost universally credited as a lesser achievement than its predecessor B.R.M.C..
The album cover is an homage to the film The Third Man.
This album has been released with the Copy Control protection system in some regions.