R.E.M. formally announced its 25th anniversary expanded reissue of ‘Document’ on Tuesday, and offered up a short recording made by guitarist Peter Buck to be played at 1987’s New Music Seminar in which he “introduced” the attendees to the band’s then-forthcoming and heavily anticipated fifth album

Public Image Ltd.’s first North American tour in two years grew by two dates this week as John Lydon and Co. announced new late-October shows in San Diego and Tempe, Ariz., now bringing the fall trek to an even 20 dates. The tour opens Oct. 3 in Orlando, Fla., wraps up in Texas at the FunFunFun Fest in Austin, Texas, on Nov. 3.

After playing just two shows in New York and a concert in Toronto this past May in support of ‘Sonik Kicks,’ Paul Weller will return to the U.S. this fall for an even briefer visit: The ex-Jam leader is set to perform on the Oct. 18 episode of “Jimmy Kimmel Live!” and will follow that with a concert Oct. 19 at Los Angeles’ Greek Theatre.

This week’s Slicing Up Eyeballs Music Hour featured new music by Bob Mould, Pet Shop Boys, Redd Kross and Thurston Moore, plus old favorites from Midnight Oil, Tears For Fears, Throwing Muses, Golden Palominos, New Order, Elvis Costello, The Beat and Time Zone.

Omnivore Recordings this fall will release the soundtrack to the cult 1987 documentary ‘Athens, GA – Inside/Out’ — which chronicled the music scene that spawned R.E.M., The B-52s and more — on CD for the first time, packaging it with a DVD of the film and five bonus tracks, two of which are ‘previously unheard performances.’

Amid rumors that the stage-shy singer somehow will participate in Sunday’s London Olympics closing ceremony, Kate Bush apparently is set to release a new remix of her best-known hit, ‘Running Up That Hill (A Deal With God).’ A listing for a 2012 remix of the song was up on Amazon.co.uk, although it’s now been removed.

Bob Mould is set to release his first new album in three years in less than a month, and Merge Records this morning offered up the first taste of Silver Age in the form of lead single “The Descent,” which, perhaps not surprisingly, is very reminiscent of Mould’s ’90s work with Sugar.