In the 11 years since the indie-country-folk band’s last record, things have gotten hazier for Beachwood Sparks.

In an era where we’ve complained about comic book storytelling being far too drawn out, the relaunched Justice League manages to pack a lot in-but perhaps too much. Some of the drama in the flagship title of DC’s New 52 soft reboot doesn’t seem earned.

Is that Ke$ha fondling Wayne Coyne’s foot? It certainly is… The Flaming Lips And Heady Fwends is a collaborative record that is perhaps the most surprising and surprisingly fun album The Flaming Lips have ever released. And that’s saying a lot (because, come on, this is The Flaming Lips).

Writer Jeff Lemire’s new version of Animal Man is a fresh, unconventional take, even on a classically unconventional superhero. Buddy Baker, who can tap into the “life web” to access animal abilities (the strength of an elephant, the speed of a cheetah, etc.) seems to have mostly hung up the tights.

The fact that Sweden has a particularly fertile indie pop community is no secret. For much of the 2000s, this music has been thriving internationally. But the way that French photographer Julien Bourgeois handles his examination of the “scene” is uniquely revealing.

The self-proclaimed loudest band in New York sure did run out of things to say by their third record. To be fair, Worship speaks through a tremendous instrumental palette, one that suits and occasionally upgrades the tradition of post-punk songscapes that birthed it.

In the six years since Irish indie film phenom Once was released, star Glen Hansard (already noted for his work with folk rock band The Frames) has racked up an Academy Award, a Grammy nomination, eight Tony Awards for the film’s Broadway translation, and been handpicked for a number of national tours, including two with now good friend Eddie Vedder

For 736 and one-half hours, a woman rigidly sits on a chair in a brightly-lit gallery within New York’s Museum of Modern Art. She does not allow herself to eat, to speak, to stretch out or to rest in any other way.

Take This Waltz is actress-turned-director Sarah Polley’s impressive and affecting third feature, an unsentimentally realistic and often funny look at long-term relationships. Margot (Michelle Williams) and Lou (Seth Rogen) are young and comfortably married, two writers whose everyday lives have lapsed into a complacent routine.