Rachika Nayar’s Heaven Come Crashing is an instrumental epic of desperate longing
Two minutes and thirty seconds into the title track of Rachika Nayar’s Heaven Come Crashing, an absolutely massive drum and bass beat drops. As a fan of Nayar’s debut record Our Hands Against The Dusk, it caught me off guard. That album has no percussion on it at all. Heaven Comes Crashing is almost entirely drum-free, too. There are some rapid-fire mechanical hi-hats on the second track, “Tetramorph,” and the back half of track six, “Gayatri,” has what sounds like a snare buried deep in the mix. But it isn’t until track seven that Nayar delivers an unexpected drum explosion, before immediately retreating to the soothing wash of “Sleepless,” just one song later.
Nayar’s unique brand of guitar-heavy ambient-adjacent music plays almost like a version of M83from an alternate universe. One where instead of turning to ‘80s pop music for inspiration, Anthony Gonzalez mined his instrumental epics...
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