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 Come 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,” …

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