Touching upon post-rock, trance, ambient, and more to create a colossal sonic world all of its own, Brooklyn-based electronic producer Rachika Nayar's second full-length is a dizzying plunge through the conflicted worlds of desire and grandiose fantasy. On Our Hands Against the Dusk, Nayar used her guitar as the primary source for sound design, mutating the instrument beyond recognition through layers of digital processing. Heaven Come Crashing retains the mangled guitar stylings, but expands the color palette with rapturous supersaw harmonies, M1 piano stabs, and glimpses of Amen breaks. Despite the manifold influences entering the frame, at its heart, a throughline remains: a breakneck exploration of desperate passion—romantic, nocturnal, and reckless in its velocity and emotional abandon. ~~~ “Fantasy is scenario, but a scenario in bits and pieces—always very brief, just a glimmer of the narrative of desire. What’s glimpsed is very sharply contoured, very brightly lit, but all of a sudden it’s gone: a body I catch sight of in a car as it goes round a bend, before it plunges into the shadows“
