As in her other releases, Aurora worked with Magnus Skylstad and Askjell Solstrand, along with new collaborations with Jamie Hartman, Martin Sjølie and Matias Tellez on its production.

Conceived as a departure from the concept and sound of her previous works, The Gods We Can Touch has been characterised to be an electropop record, along with folk-pop, ethereal, art pop, electro-folk, and synth-pop.

Inspired predominantly by Greek mythology, the lyrics explore themes of self-empowerment, abuse, heartbreak, morality and desire, with a maximal and introspective style.

[3] Aurora stated in an interview with Billboard Japan that production for two upcoming albums began in November 2019, one of them being the yet-untitled The Gods We Can Touch.

[25] Marcy Donelson of AllMusic stated that "The Gods We Can Touch mixes natural, live-sounding vocals and acoustic instrumental performances with ethereal processed harmonies, drum machines, synthesizers, and various programming."

[21][12] Georgia Griffiths from The Music wrote that Aurora is "channelling Lana Del Rey, [and] the next it's Santigold" in her vocal performances on the record.

[14][27] Described by her as "chapter three of my life",[28] she revealed to be going to a more experimental direction with the album, and stated that it would not discuss themes like "doom, gloom, COVID and horror", instead of focusing on "more playful and fun" songs, whilst also referencing "a lot of things that bother [her] with society and our history".

[11] The lyrical themes are heavily inspired predominantly by Greek mythology,[24][14][21] though Aurora acknowledged that some of them have references to Abrahamic and ancient Roman religions.

[38] It is a dreamy, retro-styled ballad accompanied by acoustic guitar and backing harmonies that moves into a soaring, strings-swept melody as she declares her love to her lover.

[35][26] The following track, "The Innocent", is an upbeat dance-pop and house song with a Latin rhythm that is accompanied by syncopated chordal piano, brass and pizzicato strings.

[37][42] In "A Dangerous Thing", Aurora reflects on an abusive relationship, referencing the goddess of seduction Peitho, and showcases tone shifts from light harmonies to deeper verses.

[39] "Blood in the Wine" opens with a war cry reminiscent of The Good, the Bad and the Ugly against gentle acoustic guitar and thunderous percussion as it builds into a "collosus roar".

[16] An electropop track, which was compared to the music of Fleetwood Mac, "This Could Be a Dream" is a subdued ballad driven by "a flowing melody over a slow beat", piano, orchestral strings and trumpets that talks about "finding strength when you have nothing left to give.

[63] The Line of Best Fit writer Tom Williams praised the album as an "ethereal masterpiece" and stated that Aurora's sound is "like heaven on Earth.

"[17] Steven Loftin of Dork called Aurora on the album "exciting as she is intriguing" and makes the "world feels like a better place.

"[64] Clash's Finlay Holden called the record "high-reaching" and noted that the themes of "angry, celebratory, wallowing and cathartic energies exhibit themselves in a maximalist way.

"[31] Ben Hogwood from musicOMH states that the record consisted of "futuristic production and intriguing, sometimes daring melodies" despite being rooted in a "deep and very distant past.

[23] Gigwise writer Tom Taylor sees Aurora as she "experiments with genre in her joyful new album" while also being reliant on "high-energy, electro-pop anthems.

"[15] Andrew Trendell of NME notes that the record "seizes the opportunity to take the world on and fight with all her power" and is loaded with "idiosyncratic quirks and enchanting notions.

"[36] Hayden Godfrey from Under the Radar felt that the record showcases Aurora's "glorious highs and careful lows" towards the production.