Rachika Nayar’s Heaven Come Crashing is an instrumental epic of desperate longing

<figure> <img alt="The cover of Rachika Nayar’s Heaven Comes Crashing featuring a woman on her knees hugging a man in the street." data-caption="" data-portal-copyright="Image: NNA Tapes" data-has-syndication-rights="1" src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/08/rachika-nayar.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" /> <figcaption> </figcaption> </figure> <p class="wp-block-paragraph">Two minutes and thirty seconds into the title track of Rachika Nayar's <a href="https://rachika.bandcamp.com/album/heaven-come-crashing"><em>Heaven Come Crashing</em></a><em>, </em>an absolutely massive drum and bass beat drops. As a fan of Nayar's debut record <a href="https://rachika.bandcamp.com/album/our-hands-against-the-dusk"><em>Our Hands Against The Dusk</em></a>, it caught me off guard. That album has no percussion on it at all. <em>Heaven Comes Crashing </em>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," …</p> <p><a href="https://www.theverge.com/entertainment/974271/rachika-nayars-heaven-come-crashing-music-review">Read the full story at The Verge.</a></p>