Danny Elfman will take the stage at London’s Royal Albert Hall this October for a cinematic career overview entitled “Danny Elfman’s Music From the Films of Tim Burton” that will find him doing something he hasn’t done since Oingo Boingo’s farewell concert on Halloween night 1995: singing in public.

Depeche Mode today premiered a second music video for its new single “Heaven,” a stripped-down, black-and-white, in-the-studio clip that debuted on NPR Music. Check it out here (and watch the original video again, too). The track is the first single released from the upcoming Delta Machine, which is due out March 26.

For this week’s installment of Vintage Video, we flash back to 1985 for this great German TV broadcast of a 40-minute performance in Munich by Lloyd Cole & The Commotions, filmed about five months after the band’s classic debut ‘Rattlesnakes’ was released (footage via Manu Guinarte).

The Ocean Blue gave fans an early taste last fall of two tracks — “Blow My Mind” and “A Rose is a Rose” — off its first new album in 13 years, and now, with that record, ‘Ultramarine,’ due out in March, the band has premiered another song, “Sad Night, Where Is Morning?,” which you can stream here.

Steve Wynn today revealed that The Dream Syndicate — which reunited last year for a series of concerts in Spain celebrating the 30th anniversary of ‘The Days of Wine and Roses’ — will play what he’s billing as the band’s first U.S. show since 1988 when it performs this summer at Wilco’s Solid Sound festival.

Noting his contributions “to the music and cultural scene of Minneapolis for over four decades,” the mayor of Minnesota’s largest city has declared Thursday — Valentine’s Day to most — also will be Slim Dunlap Day, honoring the former Replacements guitarist who suffered a debilitating stroke a year ago.

The NME later this month will bestow its “Godlike Genius” award to Johnny Marr, and in conjunction with the issue celebrating that honor the guitarist recorded a couple videos for the publication’s “Song Stories” series in which he offers insight into the writing of the Smiths’ “Heaven Knows I’m Miserable Now.”