A Joyous Confession of Obsession, Spelled L‑U‑V
When Steely Dan returned in 2000 with their long-awaited studio album Two Against Nature, the record soared to number six on the U.S. Billboard 200, marking a triumphant comeback after nearly two decades. Tucked within its sleek, jazz-inflected grooves lies “Almost Gothic,” a quietly rapturous love song that stands out as one of the album’s most emotionally open moments.
At first glance, “Almost Gothic” might feel like a gentle outlier in the Steely Dan canon, less cynical than their typically sardonic narratives, and bathed in a warm, almost playful glow. Yet at its core, it wrestles with the same fervent undercurrents of longing and infatuation that have always defined Donald Fagen and Walter Becker’s songwriting. The track is an unabashed declaration of love, with Fagen deliberately spelling out L‑U‑V to evoke a nostalgic innocence and a sweet sense of melodrama.
Musically, the song is lithe and elegant. Horn arrangements drift in softly while the Rhodes piano pulses with a quiet insistence. There is a sweetness to the melody that recalls stepping into a memory, and the harmonic shifts feel both familiar and fresh, deeply rooted in the Dan’s past sophistication yet full of a lightness born of maturity. Its feel evokes classic 1960s pop, with a timeless sheen that contrasts beautifully with the knowing, grown-up tenor of Fagen’s voice.
Lyrically, the narrator becomes a scientist at the altar of love, drawn in by the paradoxical nature of his object of affection. He is dazzled by her cool precision and her mysterious allure. His fascination borders on worship, yet he admits the danger, as the obsession carries both electric thrill and precarious tension. The song captures the simultaneous delight and risk of surrendering completely to desire, a feeling both youthful and deeply human.
The creation of “Almost Gothic” reflects a moment of playful expansion for Steely Dan. Fagen embraced a cheeky influence from teenage melodrama to express something powerful and unguarded. The feeling of glee in the song mirrors the duo’s desire to explore emotional candor and musical lightness, proving that even after years of sophisticated, cerebral songwriting, they could still surprise listeners with warmth and intimacy.
In the context of Two Against Nature, “Almost Gothic” is a moment of soft confession amid sharper, darker narratives. It offers a rare window into vulnerability, a man so thoroughly smitten that he is willing to spell out his love, embracing both the whimsy and intensity of his emotion. The track stands as a testament to Steely Dan’s ability to capture obsessive yearning with musical sophistication, lyrical wit, and poetic honesty, reminding listeners that even the most polished artists can still lay their hearts bare in the most unexpected ways.