Within just her first few years of releases, Rachika Nayar’s compositions of digitally processed guitar reimagined the limits of the instrument for modern electronic music.
The ghostly and mutated production of her debut, Our Hands Against the Dusk, transfigured her guitar beyond recognition into fractured ambient landscapes, while its maximalist follow-up,Heaven Come Crashing, expanded into a sonic world of desperate passion, supersaw synths, and rapturous breakbeat fantasies.
After acclaim from The New York Times, The Fader, Vulture, Stereogum, and Pitchfork—the latter of which named Heaven Come Crashing “Best New Music”—her planned performances included visits to Dekmantel, Le Guess Who, Pitchfork Festival, and a tour alongside M83.
Her sounds might vary vastly between releases, but across them, a through-line remains: a resonant sense of emotional abandon that is at times haunting and durational, and at others, romantic and reckless with breakneck velocity.
Photo Credit- with thanks -Yulissa Benitez