
Boyhood
Nobody had tried this before: Linklater filmed the same cast a few days a year for twelve years, so you watch a real child turn into a real adult.

Nobody had tried this before: Linklater filmed the same cast a few days a year for twelve years, so you watch a real child turn into a real adult.

Shot in nineteen days on three million dollars, and cut like a thriller: a drummer, a teacher who throws chairs, and the question of what greatness costs.

Swift plays her own tabloid caricature, a clicking pen for percussion, and she replaced herself at number one.

Six studios, eighty-two takes at the guitar part, Ronson collapsing in the studio, and fourteen weeks at number one.

Written first for Rihanna, kept by Sia instead, and given a video where an eleven-year-old dancer did the acting.

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

One Letterman performance in March 2014, Herring's angular dancing, and Pitchfork, NME and Spin named it the year's best.

Rahki built it on the Isley Brothers' That Lady, and Lamar turned self-love into two Grammys.

Rostam's harpsichord reharmonizes a melody that traveled from Bread through Grover Washington Jr. to Souls of Mischief, then here.

Martin and Shellback stomped the drum pattern on a wooden floor, and Swift turned tabloid noise into fifty weeks charting.

Wadge was playing chords while Sheeran showered; twenty minutes later they had a Song of the Year.

El-P's beat, de la Rocha recruited a day after a chance encounter, and the fiercest track on the album.

Verses at 123 beats a minute collapsing to 65 in the chorus, cut live with Auerbach's band in Nashville.

Granduciel spent two years second-guessing these sessions, and the song still turns on one yelp before the chorus.

Swift named the record for the year she was born and dropped country entirely, writing straight synth-pop for the first time.

Adrian Utley of Portishead helped build the noise, and Hadreas answers a lifetime of stares with pure swagger.

Adam Granduciel spent two years and a dozen studios on it, mostly rerecording parts he had already finished, in the grip of severe anxiety.

Snowed into a Prince Edward Island farmhouse, Rankin wrote a proposal song; VanGaalen cut it in Calgary.

They gave it away free online, as they had the first one, and Killer Mike's verse about being stopped by police arrived weeks before Ferguson.

Dropped without warning on a Saturday in August, an Outkast sample underneath, Minaj arriving to claim the rap crown.

Boi-1da, Vinylz and Frank Dukes built the boast; Nineteen85 and 40 flip a James Blake sample for the reckoning.

Spoon's eighth album brought in Dave Fridmann and Alex Fischel, and Daniel spends the chorus asking to be understood.

One voice layered roughly twenty times into a choir, and a settlement that added Petty and Lynne.

Del Rey wrote it with Lou Reed in mind, then sang the Brooklyn hipster caricature straight, deadpan and unbothered.

Stephan Moccio's piano under strings that swing in six-eight, and Tesfaye's first Hot 100 top five.

Twelve narrators tell their own Iraq, from a Marine who shot dogs in the street to a diplomat ordered to teach Iraqi children baseball. Klay is sharpest on coming home.

At Auschwitz a Nazi officer courts the commandant's wife while the commandant, a preening drunk, complains about his workload. The third narrator is a Jewish prisoner made to burn the bodies.

A saxophone loop, Big Sean whispering the hook uncredited, and Max Martin's team handing Grande her first pop blockbuster.

Beck's father wrote the string arrangements, as he had on Sea Change. It won Album of the Year and Kanye West objected onstage.

At an Aspen party a man lectures Solnit about an important new book on the photographer Muybridge. She wrote it. Her essays track how silencing women shades into violence against them.

Osnos spent eight years watching China chase fortune faster than its politics allowed, and tells it through a soldier who swam the strait to defect and a blind lawyer who escaped house arrest.

Charli offered it to Hilary Duff, whose team passed; a film soundtrack turned that chorus into a top-ten smash.

Sonny Digital and Metro Boomin built the beat, Drake jumped on the remix, and a weeknight became an occasion.

P-Nasty and Mike Will Made It's beat, verses from Pharrell and Pusha T, the hardest thing on Honest.

Smith and Jimmy Napes wrote it about someone else's marriage, and Simon Hale's strings carry the slow march.

DJ Mustard and Mick Schultz built it on Snap!'s Rhythm Is a Dancer; Jeremih, by his account, skipped the video.

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

Chatto's cello and a chiptune blip riding house four-four, with Jess Glynne's first number one on top.

Max Martin's Stockholm crew wrote it, The Weeknd found the demo generic, and rewrote himself into his first top ten.

Mustard's beat interpolates Sean Paul, ScHoolboy Q scuffs the gloss, and the Aquarius lead single went four times platinum.

Two Shepherd's Bush friends hiding behind the initials J and T, falsetto stacked over a warehouse full of dancers.

Director X restaged Clueless for the video, and Charli XCX's hook carried both artists to seven weeks at number one.

Mark Kozelek uses real names throughout, and the deaths in it are real deaths in his family. Almost nothing is dressed up as metaphor.
In many a piece of music, it's the pause or the rest that gives the piece its beauty and its shape.