Rachika Nayar’s Heaven Come Crashing is an instrumental epic of desperate longing
Rachika Nayar's album 'Heaven Come Crashing' is described as an emotionally heavy, guitar-focused instrumental work that explores themes of longing and passion. The review highlights the album's unique sound, which blends ambient textures with occasional bursts of percussion and vocal contributions from Maria BC.
Why it matters
This review provides insight into contemporary experimental music trends and the evolution of ambient-adjacent genres.
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.
[Media: https://rachika.bandcamp.com/album/heaven-come-crashing]
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