Quietly dramatic and, at best, lyrical.

They're such pretty songs, sung with sweet simplicity.

Stellar side projects often run the risk of sounding smug, but over these 12 varied selections, the Little Willies put the American songbook first.

Can only be described as… the sound of Coldplay.

Just enough titbits of melody... to sustain interest.

It's bonkers and frequently brilliant.

He sounds like Bob Dylan or Tom Petty when he sings – laconic, nasal, matter of fact – but his songs thrum and drone and hum like, well, loose ambient rock.

It's even prettier and easier on the synapses than D--also released this year--without sacrificing any of the complexities for which the Texans are renowned.

This second album is characterised by cheesy, soul-flavoured pop.

Covers make up the backbone of this perfectly enjoyable, but tame release.

A triumphant excursion.

It's a downer, but timely and affecting, with moments of beauty.

This compilation of Juan tour-only EP tracks, plus remixes and so on may be a stop-gap between Juan albums proper, but it doesn't feel like filler.

[Her cover of Bon Iver's Skinny Love] is easily the high point of her debut album.

In revving so hard, though, the Black Keys have perhaps left behind in the dust the subtleties that made Brothers such an intriguing ride.

Sadly, much of the material is generic.

The X Factor contestant's first album is an exhausting, if lovable mess of cartoon-bright, turbo-charged grime-pop.

Bondy gives his songs plenty of room to breathe, the results being quite often spellbinding.

Not much here is new: a few alternative takes (including a great one of "ABC") and some previously unheard studio banter.

If… is a joy, its 10 mostly instrumental tracks proving both intimate and powerful.

Dunis's flat tones can let the side down, but otherwise, the swoon is in the details.

The emphasis on loud, clubby production means it lacks the progression of Rated R or the bombast of Loud.

This album is rather better when it is winking at you, rather than seeking to cryogenically preserve emotion.

Camille remains a restless, inventive voice, as enchanting as she is silly.

Fun while it lasts, but swiftly forgettable.

Choruses range from slushy ("Oh you will never know how much I love you so") to barren ("This is all you ever asked for, this is all you'll get"), but sometimes there's a shard of sincere sentiment.

What follows this auspicious beginning is a riveting album about race, class, opportunity, tribalism, love, the pitfalls of fame, comedy and "seriousness"--one that coexists quite happily with a potty-mouthed pop-rap record about sleeping with girls.

By turns eerie and starkly beautiful, Replica rewards repeated listening.