
E.T.
Dr. Luke and Max Martin built the dubstep stomp at Conway; West's verses took it to number one.

Dr. Luke and Max Martin built the dubstep stomp at Conway; West's verses took it to number one.

Gonzalez wrote it with his brother Yann, and Ken Thomas produced an album that worships John Hughes and eighties synths.

Cut at Miami's Circle House, Jonsin's sparse keys and Lil Wayne's verse gave Rowland seven weeks atop the R&B chart.

Justin Meldal-Johnsen co-produced at Sunset Sound, and Gonzalez turns unembarrassed optimism into a wall of synthesizers.

Recorded low at first until BenZel pushed her up an octave, and the falsetto turned touring loneliness into something weightless.

Cut in the trio's Glasgow basement studio, sibling estrangement wrapped in synth glitter and Mayberry's bright clean vocal.

A wordless hum to open, then distortion flooding the chorus; lead single from the Mercury-winning Overgrown.

Emile Haynie and Arca build a slow cathedral of bass, and Twigs sings desire in a whisper.

Kane Beatz's synth bounce, a bonus track buried on the Pink Friday deluxe, and Minaj's first solo top ten.

Gonzalez built that shrieking hook from his own distorted voice, then let James King's saxophone close the record.

Radiohead opened Kid A with no guitars at all, just a Prophet-5 and Yorke's voice diced in Pro Tools.

Kraftwerk's rhythm rode a train across Europe, name-checked Bowie and Iggy Pop, then turned up inside Afrika Bambaataa's Planet Rock.