B-Side Guys

New Orleans has long harbored the unconventional. The underground scene there—with its particular mix of Southern gothic sensibilities and experimental tendencies—provides fertile ground for bands like P.S. I luv U…Satan, whose provocative name suggests both intimacy and rebellion. Their latest offering, “TheNewTed,” exemplifies the peculiar magic that thrives in such environments—a shoegaze track that wields vulnerability like a weapon.

The opening imagery immediately establishes both physical and emotional spaces: a darkened corner becomes refuge for someone hiding from social judgment. This sense of concealment—of existing on the periphery while longing for connection—permeates the track, enhanced by the band’s shoegaze approach. Their sound creates appropriate atmospheric contradictions—at once immersive and distant, intimate and obscured—mirroring the social dynamics described in the lyrics.

What distinguishes “TheNewTed” from typical relationship narratives is its focus on deliberate self-destruction as communication. The Roman candle pointed toward eyes becomes potent metaphor for the dangerous allure of self-sabotage, while the recurring theme of flight (“I ran off in the distance”) establishes a pattern of approach and retreat that structures both the lyrics and the song’s dynamic shifts.

Most compelling is the exploration of asymmetrical devotion. The contrast between “I can give it my all” and the disappointing outcomes reveals the futility of one-sided emotional investment. This culminates in the pointed final questions about exclusivity versus universality in love—”Why don’t you want anyone/Why must you love everyone”—creating a philosophical dimension that elevates the track beyond personal grievance.

The minimal information available about P.S. I luv U…Satan enhances rather than diminishes their musical identity. Without elaborate backstory or industry positioning, listeners must engage directly with the sonic and lyrical elements, experiencing the music as immediate presence rather than constructed narrative. This approach aligns perfectly with shoegaze’s tendency to prioritize atmosphere over explicit meaning, allowing emotional resonance to emerge from textural layers rather than direct statement.