New Wave star Adam Ant’s comeback continues this spring with the release of a documentary titled “The Blue Black Hussar,” which promises to chronicle the singer’s “brave return from exile” following a mental breakdown. Above, you can check out a short trailer for the film (via Louder Than War).

The Primitives today released a new single — it’s out digitally now in the U.K., and will be followed by a limited-edition 7-inch in the U.S. and Europe next month — called “Lose the Reason,” and you can hear the track right now via its just-debuted music video. The song arrives in the U.S. on 7-inch on March 4.

Primal Scream today debuted the first single off the band’s upcoming 10th studio album ‘More Light,’ a sax-fueled rocker called “2013” that comes with a pretty creepy video — which you can see here — that features pinned moths, tied-up people and masked make-out sessions. The full album is due out May 6 in the U.K.

For this week’s “120 Minutes” Rewind, we’ve landed on a just-uploaded “120 X Ray” segment chronically under-appreciated college-rock heroes Miracle Legion, a band that host Dave Kendall refers to as “one of the hardest working but still unrecognized bands in alternative music.”

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 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.”