Chanel Beads<\/a> isn\u2019t trying to explain themselves. If anything, frontman Shane Lavers is suspicious of definitive answers altogether.<\/p>\n \u201cI used to think that thoughts or opinions I have were these eternal ways of looking at things, and now I\u2019m very aware that they\u2019re temporary. One day I might feel like I wrote the best song ever, and the next I\u2019ll feel like I can\u2019t write a song again.\u201d<\/p>\n I meet Lavers and Maya McGrory<\/a>, two thirds of the Brooklyn-based experimental electronic project, in Williamsburg on a balmy early summer evening. It\u2019s the closing stretch to a long day of pre-album release press for Lavers. The sundappled Hudson glitters behind us as we find a shady picnic table underneath Domino Park\u2019s towering turquoise gantry cranes. After a day of promotion, I ask him how he feels just a week out from album release day. \u201cIt feels well?\u201d he searches for the right word for it. \u201cI just forget sometimes because we were just coming back from Australia,\u201d he says.<\/p>\n There\u2019s a beat after he speaks, like he\u2019s still catching up to the fact that the week even happened.<\/p>\n Since releasing their breakout 2024 debut, Chanel Beads has quietly become one of indie music\u2019s most talked-about new acts, earning early co-signs from artists like Billie Eilish<\/a> and Rosal\u00eda<\/a> while building a devoted following around its hazy blend of experimental electronics, dream-pop, and fractured songwriting. The project, composed of Lavers, Maya McGrory, and violinist Zachary Paul, originated as Lavers\u2019 solo recording project before gradually expanding into a collaborative unit.<\/p>\n Now gearing up for the release of their second album, Your Day Will Come<\/em>, a follow-up to the success of their 2024 debut album \u2014 interestingly, one of the very same title \u2014 they\u2019ve just wrapped an extensive stretch on the road, including touring with Lorde<\/a> on her Ultrasound Tour<\/a> and testing new material in front of live audiences. After a year trekking from the US to Europe and New Zealand, they seem to still be settling back into New York life as album release week finally arrives.<\/p>\n \u201cI\u2019ve been sharing this music with so many friends for so long that to me it feels like it\u2019s already out,\u201d he says. \u201cI feel proud and I feel like it does everything I wanted it to do on this record.\u201d<\/p>\n What that \u201ceverything\u201d is, he doesn\u2019t fully articulate \u2014 or perhaps chooses not to. Instead, he gestures toward something more abstract: a record shaped less by answers than by a sustained feeling of anticipation without resolution. The title itself, he explains, emerged from that same tension. <\/p>\n \u201cA lot of people told us it’d be hard to market, that people would just be confused,\u201d Lavers admits the repeated title began almost as a dare. \u201cIt was a bad idea, which made me want to do it more.\u201d What started as a joke eventually became something more meaningful: The first Your Day Will Come<\/em>, he explains, carried the ambiguity of a promise, while the second interrogates it. \u201cThe first one is like someone telling you that and you don’t know if it’s good or bad. The second one is like, do you believe them that it is coming?\u201d<\/p>\n “The record is stitched together from 14 tracks with abstract titles like \u201cJBL Speaker In The Fireplace\u201d and \u201cThe Coward Forgets His Nightmare,\u201d a naming convention that has become quintessential to the Chanel Beads world. At one point, I blank on the title of the song I liked the most, quickly searching my notes to find it. Lavers laughs when I admit it. \u201cIt\u2019s hard for us to remember them,\u201d says Lavers. \u201cTitle always comes last. Every single time\u2026which makes it hard to keep things organized.\u201d<\/p>\n I eventually find the track in my notes: Outside Your Life<\/em>. Its lyrics \u2014 \u201cThought that you went insane \/ Better off you went away\u201d \u2014 with sounds of weeping and warped electronics peppered throughout hint at grief, memory, and abandonment. Lavers\u2019 songwriting often returns to themes of absence; the musician lost his brother to carbon monoxide poisoning in 2010. Across the record, moments of unease surface repeatedly, though Lavers is notably reticent to discuss personal meaning. \u201c[Fans] ask what something is about, and once you tell them, they can set it down and never think about it again,\u201d says Lavers.<\/p>\n The album\u2019s cover \u2014 which Lavers is quick to correct is a \u201cgrotesque,\u201d not a gargoyle, because it lacks a water spout \u2014 is one of the easiest ways to tell the two records apart. The tiny stone figure was discovered at a Connecticut flea market and later photographed hanging on the band’s apartment wall before being cropped into the looming creature it appears to be. In conversation, though, the distinctions become less rigid. \u201cWe have ways of talking about [the albums] and we\u2019ll let other people have their ways of talking.\u201d<\/p>\n And their own ways of evolving, too. From recording to release, Chanel Beads remains detached from trends and expectations. When asked how they balance instinct against external pressure, both are quick to shut the premise down entirely.<\/p>\n \u201cIt\u2019s not really about appeasing anyone,\u201d McGrory says. \u201cThat just taints the whole process. If you attach yourself too much to what [fans] want, it\u2019s a lose-lose because you\u2019re never going to be able to be new and please them.\u201d<\/p>\n<\/div>\n![\"\"](\"https:\/\/imgix.bustle.com\/uploads\/image\/2026\/6\/24\/5f3096bf\/img_7057.jpg?w=414&h=552&fit=crop&crop=faces&dpr=2\")
<\/div>\n<\/figure>\n<\/div>\n![\"\"](\"https:\/\/imgix.bustle.com\/uploads\/image\/2026\/6\/24\/52a302b2\/img_7097.jpg?w=414&h=552&fit=crop&crop=faces&dpr=2\")
<\/div>\n<\/figure>\n<\/div>\n![\"\"](\"https:\/\/imgix.bustle.com\/uploads\/image\/2026\/6\/24\/a1a90e25\/img_7100.jpg?w=414&h=518&fit=crop&crop=faces&dpr=2\")
<\/div>\n<\/figure>\n<\/div>\n