The fourth album from Swedish–American duo flora cash, behind every beautiful thing enthralls with an eclectic range of pop and folk appeal. From heart-tugging orchestral balladry to anthemic pop swells, the release invigorates in its stirring contrasts of light/dark and colorful production, spanning seamlessly from fervent string arrangements to nostalgic synths. The release features Djordje Milanovic on violins/viola and Yoed Nir on cello, in addition to flora cash, which comprises Shpresa Lleshaj and Cole Randall.
Opening track “Should’ve Dressed for the Event” weaves haunting piano and ghostly vocals with a strongly emotive impact. The title-touting rise sends chills, lyrically exuding an undying love amidst chilly organs. “I’ve loved you til the end,” the vocals let out, fondly reminiscent of The Antlers in its melancholic character. The album kicks off aptly, with a track that emphasizes the light/dark contrasts between the piano-driven verses’ introspection and a moving chorus, reflecting on enduring love amidst weeping strings and multiple vocal layers.
“just wanna feel you” follows with a palpable yearning, striving for mutual affection via dreamy vocals and a touch of trip-hop nostalgia — melding steady percussion and pulsing piano. With this strong opening one-two punch, it doesn’t take long for behind every beautiful thing to establish a sound deep in emotional tension and overall heartfelt sincerity. The soulfully escalating pop duet “Like No One Could” enamors subsequently, as does the brightly exuberant “Morning Comes.”
“Morning Comes” is further exemplary of the project’s tonally dynamic entrancement. Whereas tracks like “just wanna feel you” and “HOLY WATER” succeed in a creeping piano-driven envelopment, fit for nocturnal contemplation, “Morning Comes” embraces daylight in its bright piano bounces, twangy guitar adornments, and jubilant vocal layers; its anthemic, effervescent ascent — and “only get so many chances,” reminder to value each day — invigorates in its illuminated buoyancy. This mixture of uplifting and darker reflections throughout behind every beautiful thing makes for a consistently compelling listening experience.
The album’s second half continues to enchant in its strong songwriting. “The night is young,” the vocals call out on the memorable track of the same name, incorporating lush vocal reflections and serene piano alongside sporadic guitar twangs. It plays further on previous carpe-diem thematic pursuits, while “i’m tired” follows with additional emphasis on tonal variety — moving from the nighttime atmospherics within “The Night Is Young” to a multi-vocal pop ardency.
The moving string-laden “HOLY WATER” is another standout, captivating across moments of both elegant balladry and haunting pop theatrics, while “The Builder (För J. Blom)” concludes the release with budding strings, piano, and creative rhythmic infusions of what resembles the construction of something. behind every beautiful thing is a thoroughly enveloping showcase in consuming songwriting and production from flora cash.
