When it comes to songs about aliens, musicians have been fascinated by extraterrestrial life since the early days of rock and roll. There’s something profoundly inspiring about cosmic visitors, UFO encounters, and the vast mysteries of space that translates beautifully into music. These tracks span decades and genres, from psychedelic rock to modern electronic productions, each offering a unique take on alien encounters and otherworldly experiences.
The beauty of alien-themed music lies in its ability to blend science fiction storytelling with genuine human emotions—loneliness, wonder, fear, and hope. Whether you’re into the theatrical productions of classic rock or the atmospheric soundscapes of contemporary electronic music, this collection represents the pinnacle of extraterrestrial musical exploration.
“Life on Mars?” by David Bowie
Bowie’s masterpiece from Hunky Dory (1971) remains the definitive statement on cosmic alienation and otherworldly longing. While not explicitly about aliens, the song captures that profound sense of being disconnected from Earth, watching humanity from a distant perspective. The piano arrangement by Rick Wakeman is absolutely stunning, creating a theatrical foundation that builds into one of the most emotionally powerful choruses in rock history. Bowie’s vocal delivery shifts from contemplative whispers to soaring crescendos, mirroring the journey from earthbound confusion to cosmic perspective.
The production, helmed by Ken Scott alongside Bowie, features lush string arrangements that give the track an almost cinematic quality. There’s this gorgeous tension between the intimate piano verses and the explosive chorus sections that perfectly captures the push-pull between Earth and the stars. This song showcases why Bowie became synonymous with space-age rock—he understood that alien themes weren’t just about little green men, but about existential questions of belonging and identity.
“Mr. Spaceman” by The Byrds
The Byrds delivered this charming country-rock gem on Fifth Dimension (1966), and it’s aged beautifully with its tongue-in-cheek approach to alien abduction. Roger McGuinn’s jangly 12-string Rickenbacker creates that signature Byrds sound while the lyrics playfully invite extraterrestrials to take the narrator aboard their spaceship. The production by Gary Usher and the band themselves captures the mid-60s fascination with space exploration, but there’s genuine warmth in the melody that prevents it from becoming pure novelty.
What makes this track special is how it balances humor with legitimate musical craftsmanship—the harmonies are impeccable, the instrumentation tight, and the bridge section features some genuinely beautiful vocal arrangements. It’s essentially a friendly invitation to alien visitors set to a folk-rock backdrop, and that earnest approach gives it timeless appeal. The song influenced countless later artists exploring cosmic country territory.
“Subterranean Homesick Alien” by Radiohead
From OK Computer (1997), Radiohead crafted one of their most atmospheric and ethereal tracks about wishing to be abducted by aliens. Thom Yorke’s vocals float over gorgeous, shimmering guitar work from Jonny Greenwood and Ed O’Brien, creating this dreamy soundscape that genuinely feels like drifting through space. The production by Nigel Godrich is masterful—there’s incredible depth in the mix with layered guitars, subtle electronic elements, and a rhythm section that never overpowers the song’s delicate atmosphere.
The lyrics express this profound desire to escape earthly monotony and observe humanity from above, which resonates with anyone who’s ever felt disconnected from modern life. The mellotron strings add this vintage sci-fi quality while the guitar tones are decidedly modern, creating a beautiful temporal tension. It’s introspective alien music at its finest, proving Radiohead’s ability to transform cosmic themes into deeply personal statements.
“Rocket Man” by Elton John
Written by Bernie Taupin and composed by Elton John for Honky Château (1972), “Rocket Man” explores the isolation of space travel with heartbreaking vulnerability. While technically about an astronaut rather than aliens, the song captures that essential alienation—being separated from Earth, family, and everything familiar. Gus Dudgeon’s production creates this perfect balance between the intimate verses and the soaring chorus, with Paul Buckmaster’s string arrangements adding emotional weight without overwhelming the core melody.
Elton’s vocal performance is remarkably restrained compared to his usual theatrical style, which makes it all the more effective. The use of the ARP synthesizer creates these otherworldly textures that float beneath the piano and strings, giving the track its distinctive spacey quality. The song became a massive hit, reaching number six on the Billboard Hot 100, and its influence can be heard in countless space-themed ballads that followed. For anyone interested in experiencing this track with optimal audio quality, checking out comparisons of premium audio equipment at can really enhance the subtle production details.
“Calling Occupants of Interplanetary Craft” by Klaatu
Originally released by Klaatu in 1976 on their debut album 3:47 EST, this progressive rock epic is genuinely one of the most ambitious alien contact songs ever recorded. Running over seven minutes, the track builds from quiet, mysterious beginnings into a full orchestral climax that sounds like an actual transmission to extraterrestrial civilizations. The production is incredibly layered with Mellotron, synthesizers, guitar, bass, drums, and orchestral arrangements all working together to create this massive sonic statement.
The Carpenters later covered it in 1977, achieving greater commercial success, but the original Klaatu version has this raw, earnest quality that makes it special. The band’s anonymity at the time added to the mystique—some listeners genuinely wondered if they were aliens themselves. The song’s structure mirrors the journey of reaching out across the cosmos, starting intimate and building to universe-spanning grandeur. It’s prog rock at its most sincere and imaginative.
“Intergalactic” by Beastie Boys
The Beastie Boys brought alien themes to hip-hop with this absolute banger from Hello Nasty (1998). Produced by the Beastie Boys and Mario Caldato Jr., the track samples “The Return of the Giant Ants” from the film It Came from Outer Space, giving it this retro sci-fi B-movie vibe. The distorted bass line is absolutely massive, the kind that rattles car speakers and club sound systems with equal effectiveness. Mike D, Ad-Rock, and MCA trade verses with their signature playful energy while claiming “intergalactic planetary, planetary intergalactic” status.
The music video directed by Nathanial Hörnblowér (actually MCA) features a giant robot battle in Tokyo, cementing the song’s place in late-90s pop culture. What’s brilliant about this track is how it takes alien themes and makes them about confidence and otherworldly talent rather than cosmic encounters. The production is deliberately raw and punchy, with the drums hitting hard against those sci-fi samples. It reached number 28 on the Billboard Hot 100 and won a Grammy for Best Rap Performance by a Duo or Group.
“E.T.” by Katy Perry featuring Kanye West
Katy Perry’s Teenage Dream album (2010) spawned multiple hits, but “E.T.” stands out for its dark, sensual take on alien attraction. Produced by Dr. Luke, Max Martin, and Ammo, the track features heavy electronic production with dubstep influences and a haunting melody that sounds genuinely otherworldly. Perry’s vocals are processed to enhance the extraterrestrial theme, while Kanye West’s verse adds hip-hop credibility and expands the song’s narrative scope.
The lyrics explore alien romance with genuine eroticism—”kiss me, ki-ki-kiss me, infect me with your love and fill me with your poison”—treating extraterrestrial contact as both frightening and irresistible. The production is absolutely huge, with massive bass drops and shimmering synths that create this futuristic soundscape. It topped the Billboard Hot 100 for five weeks and became one of the best-selling singles of 2011. The song proved that alien themes could work in mainstream pop when approached with the right combination of mystery and accessibility.
“Spaceships” by Kanye West
From Yeezus (2013), Kanye’s “Spaceships” takes a different approach to alien and space themes by grounding them in the reality of working-class struggle. Actually, I need to correct myself—the track I’m thinking of is from The College Dropout (2004), and it uses the spaceship metaphor to discuss escaping dead-end jobs and Earth’s limitations. Produced by Kanye West himself, the song samples “Distant Lover” by Marvin Gaye and features GLC and Consequence alongside Kanye.
The track’s genius lies in making cosmic escape relatable to everyday frustration. The production has this soulful warmth contrasting with the sci-fi subject matter, creating emotional depth beyond simple space references. Kanye’s storytelling describes working at The Gap while dreaming of bigger things, using space travel as a metaphor for upward mobility and escape. It’s one of hip-hop’s smartest uses of alien/space imagery, connecting cosmic dreams to very terrestrial struggles.
“The Ballad of El Goodo” by Big Star
Big Star’s #1 Record (1972) included this gorgeous track that, while not explicitly about aliens, captures that same sense of cosmic melancholy and otherworldly beauty. Produced by John Fry with Big Star, the song features Alex Chilton’s vulnerable vocals over chiming guitars and strings arranged by Boshell Boshell. The title references “El Goodo,” which could be interpreted as some kind of cosmic or alien entity, though it’s deliberately ambiguous.
The production is stunning—there’s this crystalline quality to the guitar tones, and the way the strings enter during the chorus creates genuine emotional lift-off. Chris Bell and Alex Chilton’s guitar interplay is telepathic, weaving around each other like celestial bodies in orbit. Though it wasn’t a commercial success upon release, the song has become recognized as one of the most beautiful pieces of power pop ever recorded, influencing everyone from R.E.M. to The Replacements.
“Astronomy Domine” by Pink Floyd
The opening track from Pink Floyd’s debut The Piper at the Gates of Dawn (1967) is a psychedelic journey through space with aliens lurking in the cosmic imagery. Produced by Norman Smith, the track features Syd Barrett’s distinctive vision of space exploration with its disorienting panning effects, theremin-like sounds, and Barrett’s trembling vocal delivery listing astronomical objects. Roger Waters’ bass line provides grounding while Nick Mason’s drums create rhythmic propulsion through the cosmos.
What’s remarkable is how genuinely alien this sounded in 1967 and how it still maintains that otherworldly quality today. The stereo effects, with Barrett’s voice panning from speaker to speaker, create this dizzying sense of movement through space. Richard Wright’s organ work adds these swirling textures that enhance the psychedelic atmosphere. The song established Pink Floyd’s cosmic credentials early, laying groundwork for their later space-themed masterpieces like The Dark Side of the Moon.
“Space Oddity” by David Bowie
Bowie returns with perhaps the most famous space song ever recorded. Released in 1969 to coincide with the Apollo 11 moon landing, “Space Oddity” tells the tragic story of Major Tom, an astronaut who becomes lost in space. Produced by Gus Dudgeon, the track features innovative use of the Stylophone (played by Bowie himself), acoustic guitar, strings, and Mick Wayne’s distinctive electric guitar work. The production creates this perfect sense of isolation and vastness that mirrors the lyrics’ emotional journey.
The song’s structure is brilliant—it moves from mission control communications to Major Tom’s personal reflections to his final disconnection from Earth. Tony Visconti famously refused to produce it, considering it a gimmicky novelty song, but Dudgeon understood Bowie’s vision perfectly. The track only reached number five in the UK initially but became Bowie’s signature song, re-charting multiple times including after his death in 2016. It established the template for narrative space songs and remains deeply moving decades later. Many listeners discover new details in the mix when experiencing it through quality audio setups featured.
“Cosmic Love” by Florence + The Machine
From Lungs (2009), Florence Welch transforms cosmic imagery into a powerful exploration of love and emotional disorientation. While not explicitly about aliens, the song’s celestial imagery and Welch’s description of stars and darkness creates an otherworldly atmosphere. Produced by Paul Epworth, the track features Florence’s powerful vocals over harp, drums, and building strings that create genuine emotional crescendos. The percussion is particularly effective, with thunderous toms driving the song forward like a spacecraft accelerating through darkness.
What sets this apart is Florence’s unique vocal delivery—she can be whispering and vulnerable one moment, then unleashing her full power the next. The lyrics use cosmic imagery (“The stars, the moon, they have all been blown out”) to describe emotional devastation with poetic beauty. The production gives everything space to breathe while maintaining incredible dynamic range. It’s art rock with genuine substance, proving cosmic themes work just as well for exploring human emotion as literal space travel.
“Purple People Eater” by Sheb Wooley
This 1958 novelty hit is pure fun—a one-eyed, one-horned flying purple people eater comes to Earth wanting to join a rock and roll band. Produced by Neely Plumb, the track features Wooley’s own sped-up vocal for the alien’s voice alongside his regular singing. It’s deliberately silly, but there’s genuine musical craftsmanship in the construction. The saxophone work adds authenticity beyond the novelty concept, and the song’s structure is actually quite tight.
“Purple People Eater” spent six weeks at number one on the Billboard Hot 100, proving mid-century America’s appetite for lighthearted alien content. While it lacks the emotional depth of other entries on this list, it captures a specific cultural moment when aliens were seen as potentially friendly visitors rather than threats. The song’s enduring popularity (it still gets radio play around Halloween) demonstrates how effective simplicity and humor can be when combined with a catchy melody. It influenced countless novelty songs that followed.
“Supermassive Black Hole” by Muse
From Black Holes and Revelations (2006), Muse delivered this falsetto-driven cosmic banger that blends space imagery with desire and obsession. Produced by Rich Costey and Muse, the track features a funky, Prince-influenced groove completely different from Muse’s usual progressive rock bombast. Matt Bellamy’s falsetto vocals are processed to sound alien and seductive, while the bass line (played by Chris Wolstenholme) absolutely grooves in a way that’s irresistible on dance floors.
The production is sleek and modern, with electronic elements blending seamlessly with live instrumentation. The drum programming and Dom Howard’s live drums create this hybrid rhythm section that feels both human and robotic. The song gained massive exposure from the Twilight film franchise, introducing Muse to new audiences. What’s brilliant is how they took cosmic themes and made them sensual and danceable rather than cerebral and introspective. It proved Muse’s versatility and willingness to experiment with genre.
“Alison Hell” by Annihilator
Canadian thrash metal band Annihilator’s debut album Alice in Hell (1989) featured this intense track about a young girl’s terrifying alien/demonic visions. Produced by Annihilator founder Jeff Waters, the track showcases virtuosic guitar work, complex arrangements, and Randy Rampage’s aggressive vocals. The song’s structure moves through multiple sections, from melodic intros to crushing thrash sections, demonstrating technical proficiency alongside genuine songwriting craft.
The lyrics describe Alison’s nightmares of otherworldly entities, blurring the line between psychological horror and alien encounters. Waters’ guitar solo is absolutely blistering, full of sweep picking and technical fireworks that influenced countless metal guitarists. While not a mainstream hit, the song became a thrash metal classic, respected within the metal community for its ambition and execution. It proves alien themes can work in extreme metal when approached with the right combination of technical skill and dark imagination.
“Space Truckin'” by Deep Purple
From Machine Head (1972), Deep Purple delivered this hard rock anthem about hauling cargo across the galaxy. Produced by Deep Purple themselves, the track features Ritchie Blackmore’s distinctive guitar riff, Jon Lord’s swirling Hammond organ, and Ian Gillan’s powerful vocals describing interplanetary commerce. The rhythm section of Roger Glover and Ian Paice drives the song with relentless energy, creating this sense of perpetual motion through space.
The live versions of this song became legendary, often extending to 20+ minutes with extensive improvisation. The studio version clocks in at a more modest four and a half minutes but captures the band’s incredible chemistry. What makes it special is how they took a simple concept—space truckers—and turned it into this high-energy celebration of cosmic adventure. The song has influenced countless space-themed rock tracks with its combination of heavy riffing and imaginative storytelling. For those exploring classic rock production techniques, examining songs like this through quality listening experiences found at can reveal incredible production details.
“Starman” by David Bowie
Bowie’s third appearance on this list is justified by “Starman” from The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972). Produced by Ken Scott and David Bowie, the track introduces the concept of an alien messenger (Starman) bringing hope to Earth’s youth. The production features gorgeous layered vocals, Mick Ronson’s beautiful guitar work, and a melody that’s simultaneously nostalgic and futuristic. The “la la la” hook is one of pop music’s most memorable moments.
The song’s significance extends beyond its musical quality—Bowie’s performance of “Starman” on Top of the Pops became a cultural watershed moment, with his arm draped around Ronson challenging gender norms and inspiring countless viewers. The track peaked at number 10 on the UK Singles Chart and became central to the Ziggy Stardust mythology. What’s remarkable is how Bowie made alien visitation sound comforting and hopeful rather than threatening, positioning extraterrestrials as potential saviors offering connection and understanding.
“Planet Caravan” by Black Sabbath
From Paranoid (1970), Black Sabbath showed their softer, more atmospheric side with this dreamy track about space travel. Produced by Rodger Bain, the song features Tony Iommi’s jazzy guitar work, Geezer Butler’s melodic bass, Bill Ward’s brushed drums, and Ozzy Osbourne’s vocals processed through a Leslie speaker to create an otherworldly effect. The production creates this floating, weightless atmosphere that genuinely sounds like drifting through space.
What’s remarkable is how different this sounds from Sabbath’s usual heavy approach—it’s delicate, beautiful, and genuinely psychedelic. The use of bongos and the gentle dynamics create an almost meditative quality. Pantera later covered it on Far Beyond Driven (1994), introducing the song to new generations with a more electronic approach. The original remains a masterclass in creating cosmic atmosphere with minimal elements, proving that space music doesn’t always require bombast and volume.
“Iron Man” by Black Sabbath
While “Iron Man” from Paranoid (1970) is actually about a time-traveling human rather than an alien, the song’s otherworldly protagonist and cosmic themes earn it a place here. Produced by Rodger Bain, the track features one of the most iconic guitar riffs in rock history, Tony Iommi’s simple but devastatingly heavy four-note pattern. The opening features Ozzy’s vocals processed through a ring modulator to create that robotic effect introducing the character.
The song’s narrative describes someone who travels through time, sees Earth’s destruction, and returns to warn humanity only to be rejected and eventually cause the very destruction he witnessed. It’s sold over 2 million copies and became Sabbath’s signature song alongside “Paranoid.” The production is raw and powerful, with Geezer Butler’s bass adding incredible weight and Bill Ward’s drums providing controlled power. It proved that heavy metal could tell complex science fiction stories while delivering crushing riffs that became the foundation for countless subgenres.
“Aliens Exist” by Blink-182
From Enema of the State (1999), Blink-182 delivered this pop-punk track about alien conspiracy theories and paranoia. Produced by Jerry Finn, the song features the band’s signature fast-paced power chords, Mark Hoppus’s vocals describing government cover-ups, and Travis Barker’s precise, powerful drumming. The production is clean and punchy, perfect for radio play while maintaining punk energy.
What makes this work is Blink-182’s ability to take a potentially silly subject and deliver it with genuine urgency and catchiness. The chorus is immediately memorable, and the guitar work from Tom DeLonge drives the song forward relentlessly. Interestingly, DeLonge later became seriously involved in UFO research, founding To The Stars Academy of Arts & Science, making this early song seem somewhat prophetic. The track captures late-90s pop-punk at its peak—fun, energetic, and more clever than it initially appears.
Frequently Asked Questions
What was the first song ever written about aliens?
While pinpointing the absolute first is difficult, “Flying Saucer” by Buchanan & Goodman (1956) was one of the earliest commercially successful alien-themed songs, predating most space-age rock. However, some jazz and experimental musicians explored extraterrestrial themes even earlier through instrumental work. The late 1950s and early 1960s saw an explosion of alien and space-themed music coinciding with increased public interest in UFOs and the space race.
Why did David Bowie write so many songs about space and aliens?
Bowie was fascinated by alienation—both literal and metaphorical—using space and alien imagery to explore themes of isolation, otherness, and identity. His interest in science fiction, particularly the works of authors like Arthur C. Clarke, combined with his own feelings of being an outsider created perfect conditions for cosmic exploration. Bowie understood that alien characters allowed him to examine humanity from a distance, making observations that would seem preachy if delivered directly but felt profound when filtered through extraterrestrial perspectives.
Are there modern artists still making songs about aliens?
Absolutely—artists like MGMT, Tame Impala, and Grimes frequently incorporate alien and cosmic themes into their work. The electronic music scene particularly embraces space-age sounds and extraterrestrial concepts, with producers using synthesizers and digital production to create genuinely otherworldly soundscapes. Hip-hop artists like Lil Uzi Vert and Travis Scott also reference alien themes, often connecting cosmic imagery to feelings of being different or operating on another level from mainstream society.
What genre has the most alien-themed songs?
Progressive rock probably claims the most alien songs, with bands like Pink Floyd, Yes, and Hawkwind making space and extraterrestrial themes central to their artistic vision. However, electronic music and certain metal subgenres (particularly space metal and stoner rock) also feature extensive alien content. The diversity of genres tackling alien themes—from country (The Byrds) to pop (Katy Perry) to hip-hop (Beastie Boys)—demonstrates the universal appeal of extraterrestrial concepts in music.
Do any songs about aliens claim to be based on real experiences?
Some artists have claimed genuine UFO experiences influenced their music, most notably Tom DeLonge of Blink-182, who became a serious UFO researcher. John Lennon reportedly saw a UFO in New York in 1974 and referenced it in some of his later work. However, most alien-themed songs use extraterrestrials as metaphors for human experiences—isolation, wonder, fear of the unknown, or desire for transcendence—rather than claiming literal encounters. The metaphorical power of alien imagery often proves more artistically valuable than strict adherence to supposed real events.