Flora Cash’s fourth studio album, “behind every beautiful thing“, marks a significant chapter in the duo’s musical evolution. Entirely written and produced by the band, the album explores themes of love, vulnerability, and the tension between joy and pain. Featuring an orchestral blend of violins, violas, and cellos, the album skillfully balances contrasts—sincerity meets irony, hope meets doubt—while offering a raw, confessional tone. It’s an exploration of imperfect love, of holding on and letting go, and of finding beauty in life’s messiness. Sonically, the album drifts between dark, orchestral moods and lighter, nostalgic beats, giving it a cinematic feel, while also incorporating lo-fi synths that transport you to introspective moments.
“Should’ve Dressed for the Event”
The opening track, “Should’ve Dressed for the Event” introduces us to the album’s haunting yet beautiful atmosphere right from the start. The vocals immediately pull you in with their melancholic tone, while the lyrics offer a deeply sentimental reflection. The melody flows effortlessly, creating a sense of quiet contemplation. The chorus elevates the emotional impact, lifting the listener into a space of hope and realization. As the track progresses, the vocals evolve, mimicking the emotional journey of a relationship, moving from uncertainty to a place of acceptance. The song leaves the listener feeling as though they’ve experienced a gentle, sentimental breeze.
“just wanna feel you”
Much like the opening track, “just wanna feel you” begins with a powerful vocal presence, setting the tone for the unfolding story. The instrumentation, while rooted in pop, carries a cinematic depth, with the piano driving the emotional narrative. As the song builds, subtle electronic elements are introduced, marking a shift in rhythm that feels both soft and profound. Around the midpoint, the song allows for a moment of quiet reflection, before rising once again in a wave of emotional intensity. It’s a delicate balance between tension and release, where the only constant is the unwavering emotional strength carried through the lyrics.
“Like No One Could”
The third track opens with a violin that immediately sets a melancholic yet elegant tone. As the vocals come in, they intertwine with the instrumental backdrop, growing in sentiment and intensity. Piano and soft percussion form the foundation of this song, while a graceful pop sensibility lingers throughout. For the first time on the album, we hear both voices together, creating a beautiful sentimental duel that adds a rich layer to the song’s emotional narrative. Short yet powerful, “Like No One Could” invites multiple listens, revealing more depth with each repeat as the two voices reflect a shared message of longing and love.
“My Ex Would’ve Left By Now”
With acoustic guitar taking the lead, “My Ex Would’ve Left By Now” shifts towards a more stripped-back, intimate sound. The vocals, soft and almost secretive, create a feeling of vulnerability as if the singer is confessing directly to the listener. Lyrically, the song explores the idea of someone staying by your side despite your flaws, a sentiment that resonates deeply. The song builds towards an emotional climax, layering multiple vocal tracks that echo the title in a poignant, almost meditative way. It’s a quiet yet powerful anthem of love and endurance, set against a backdrop of modern pop production.
“Morning Comes”
“Morning Comes” introduces a more folk-influenced sound, offering a refreshing contrast to the previous tracks. The female vocals maintain their delicate, secretive tone, but the song gradually opens up, becoming stronger as the male voice joins in. This track feels more hopeful, with the vocal delivery becoming bolder as the song progresses. At its peak, the song erupts into a passionate, shouted chorus, reminiscent of Ed Sheeran’s melodic style but with a richer production. It’s a more optimistic song, providing a moment of light in an album that often feels introspective and melancholic.
“Baby I Love You”
Continuing with a folk-inspired sound, “Baby I Love You” brings together elements of pop and alternative rock, creating a relaxing yet emotionally charged experience. At its core, it’s a romantic song, a melodic declaration of love that feels both intimate and expansive. The instrumentation is warm and dreamy, offering a sense of escape. There’s a lightness in this track, with hope and brightness shining through in both the lyrics and production, making it one of the more uplifting moments on the album.
“The Night Is Young”
More ethereal than the previous tracks, “The Night Is Young” leans into a dreamy, folk-inspired sound. The gentle, flowing guitars give the song a calm, serene vibe. It’s a quiet, sensitive piece, yet filled with honesty and beauty. The use of choral harmonies as a secondary instrument adds an extra layer of emotional depth, creating an almost spiritual experience. It’s a delicate and introspective moment on the album, offering a peaceful escape.
“I’m tired”
Returning to a more pop-driven sound, “I’m tired” combines both voices in a duet that captures the feelings of frustration and disillusionment. The song’s instrumental backdrop mirrors this sentiment, with subtle electronic elements weaving in and out. Despite the song’s melancholic theme, there’s an underlying sense of hope, as the voices and instruments come together in a way that feels cathartic. The electronic production adds a layer of complexity, creating a unique tension that fits perfectly within the album’s emotional arc.
“Holy Water”
Arguably one of the most powerful tracks on the album, “Holy Water” builds from a gentle introduction into a soaring, emotionally charged anthem. The female vocals are at their most potent here, drawing comparisons to artists like Florence and the Machine or Lana Del Rey. The orchestration, particularly the string arrangements, adds a sense of grandeur, making the song feel almost cinematic. The circular structure of the song only adds to its addictive, cathartic nature, making “Holy Water” a standout moment on the album.
“Dragon”
“Dragon” feels like a response to “Holy Water“, this time with the male voice taking the lead. There’s an underlying anger and intensity, as the song builds slowly, driven by a subtle yet powerful percussion line. The song grows in power as it progresses, with the vocals becoming more expansive, transforming into a vibrant echo that acts as another instrument. This layering creates a sense of delicacy while maintaining originality, making “Dragon” a deeply moving and unique track.
“The Builder”
The album closes with “The Builder“, perhaps the most stripped-back and organic song on the record. The production is raw, featuring just piano, violin, and minimal background elements that create an atmospheric soundscape. This instrumental showcase is both beautiful and dramatic, allowing the instruments to take centre stage and express what words cannot. It’s as if the instruments are taking their turn to “speak”, offering a final, heartfelt message to conclude the album. A powerful end to an emotionally charged record.
More about Flora Cash
Flora Cash is a Swedish-American duo formed by Kosovo-born Shpresa Lleshaj and American musician Cole Randall. They met on SoundCloud in 2012 and quickly became musical partners. Their sound blends melancholic melodies with a mix of genres, reflecting their diverse backgrounds. They gained mainstream recognition with the single “You’re Somebody Else” from their 2017 album “Nothing Lasts Forever (And It’s Fine)“, which reached number one on American alternative radio and earned Platinum and Gold certifications in various countries. By 2021, they had released three full-length studio albums, a mini-album, and four EPs. With the 2023 release of the EP “Vår Pil (Piano Quintet Suite för Rocker Peggy)“, Flora Cash further expanded their musical repertoire to include classical music.