Two key drummers of the early post-punk era — The Cure’s Lol Tolhurst and Budgie of Siouxsie and the Banshees and The Creatures — have formed a new band called LXB that could release its already-recorded debut album before the end of this year, the two announced during an interview on Sirius XM’s Volume.

Beggars Banquet will reissue the lone studio album from Bauhaus offshoot Tones on Tail — 1984’s nine-song set Pop — for the first time ever on Record Store Day, packing the album in a new sleeve featuring revised artwork and silver foil text. Full details and tracklist right here.

Here at Slicing Up Eyeballs HQ, we’ve been fans of Chris Molanphy’s deeply nerdy chart-history podcast “Hit Parade” since its debut in 2017. But the latest episode — the “Lost and Lonely Edition,” which charts the slow rise to U.S. hit-making status by The Cure, Depeche Mode and New Order — was practically made for us.

or those not lucky enough to be at tonight’s first Bauhaus concert in 13 years, be sure to tune in to the Slicing Up Eyeballs-hosted “Dark Wave” at 10 p.m. Eastern/7 p.m. Pacific on Sirius XM satellite radio’s 1st Wave for a special Bauhaus & Family edition. Full details right here.

If you’ve ever gone looking for live footage of Tones on Tail — Daniel Ash’s and Kevin Haskins’ post-Bauhaus, pre-Love and Rockets project — you know what a black hole that is. Which is why it’s so thrilling to see Glenn Campling, the band’s bassist, sharing rare live footage of the trio performing in Scotland in 1984.

Goth-rock legends Bauhaus will reunite for their first concert in 13 years this November, a performance that comes after the band seemingly had split into competing camps in recent years, with bassist David J touring with frontman Peter Murphy and guitarist Daniel Ash teaming up with drummer Kevin Haskins as Poptone.

For this week’s installment of Vintage Video, we offer up this delightfully low-budget television commercial promoting Love and Rockets’ 1986 album Express — the existence of which is fairly surprising, considering it would be three years before the band’s real commercial breakthrough in the U.S. with “So Alive.”