Lavers\u2019s intricate, off-kilter music has made him a hero of New York<\/a>\u2019s indie<\/a> rock scene and to scores of young artists online who personalize their take on the genre with both messy and finely tuned post-production. But it\u2019s his knack for writing massive, anthemic hooks that has given the band considerable attention in the world of mainstream pop. Billie Eilish<\/a> has shouted out<\/a> Chanel Beads, Rosal\u00eda<\/a> has posted their music, and last year they played as an opening act on Lorde<\/a>\u2019s Ultrasound world tour<\/a>. Even as his subject matter has remained resolutely threatening and obscure, Lavers\u2019 increasingly accomplished records have made him a prime contender to be the next white boy rock crossover on the same trajectory as Cameron Winter<\/a> or Mk.gee<\/a>.<\/p>\n In some sense, the band\u2019s sophomore album, Your Day Will Come \u2013 not to be confused with their debut<\/a> of the same name \u2013 is the fullest culmination of their sound to date, their biggest, boldest and most emotionally impactful record yet. But even as their mission has clarified, the band\u2019s mode of operating has remained as elusive as ever. If anything, Your Day Will Come is even more certain about the way that Chanel Beads handles overwhelming uncertainty. \u201cI think I\u2019ve lost some of the youthful arrogant confidence,\u201d Lavers says, \u201cand adopted a bit more confidence with [the] humility of \u2026 never [capturing an idea] perfectly because it always escapes me.\u201d He pauses slightly. \u201cI\u2019m a little bit more comfortable with the thing I\u2019m trying to do being just out of my grasp, like maybe eternally.\u201d<\/p>\n \u201cPop music at its most transgressive when it\u2019s about \u2018the feeling that\u2019s too big\u2019,\u201d saysWendy Eisenberg<\/a>, Lavers\u2019s friend and former tourmate. \u201cWe go to pop forms because the feeling is then big enough to be handled by the collective and I feel like [Lavers] has a real lock on that. He can transmute whatever it is that he\u2019s [going through] into something that sounds like a rallying cry for a lot of people who also can\u2019t yet say the exact same thing.\u201d<\/p>\n Artwork for Chanel Beads\u2019s new album, Your Day Will Come. Photograph: Jagjaguwar<\/p>\n Chanel Beads has indeed been reaching more massive crowds and triggered feelings of deep recognition. The transition from smaller gigs, where it\u2019s easier to play to a room, to full-blown arenas has also been met with interesting lapses between his sense of the music and his audience\u2019s. \u201cA lot of people will come up and be like, \u2018This music is so hopeful and it makes me feel like things are going to be OK,\u2019\u201d he says, \u201cand to me I feel like the opposite.\u201d I\u2019m not surprised that people find Chanel Beads\u2019 music to be reassuring. On a very surface level, the effect of Lavers and co-vocalist Maya McGrory\u2019s harmonies are gorgeous; their seamless vocals somehow manage to sound both wide-eyed and world-weary at the same time.<\/p>\n skip past newsletter promotion<\/a><\/p>\n Sign up to Sleeve Notes<\/p>\n Get music news, bold reviews and unexpected extras. Every genre, every era, every week<\/p>\n after newsletter promotion<\/p>\n But it\u2019s the subtle, underlying conflictedness that makes the band\u2019s music land so powerfully. As a producer, Lavers has a formidable command of the sonic field, so that the band\u2019s bigger, windswept musical gestures are made all the more impactful with the most minute sonic detailing possible. Often the work he puts in on his laptop is so radically different from the process of recording that his collaborators are frequently amazed at the finished product. \u201cHe really fucks with all the shit I record,\u201d says Zachary Paul, who plays strings and forms the group\u2019s third regular member, with a laugh. \u201cThere\u2019s a lot of times when I actually hear the final track I\u2019m actually not sure what\u2019s me and what\u2019s him and I\u2019ll even ask, \u2018Did I play that?\u2019 and sometimes I\u2019m really surprised.\u201d<\/p>\n Lavers\u2019 innovation also extends to the band\u2019s use of sampling. At roughly three-quarters into new song Outside Your Life<\/a>, some stock audio of a man sobbing enters into the mix in a way that seems like it\u2019s both mimicking and mocking the catharsis of the lyrics. \u201cI always think, \u2018There could be a guitar solo here or there could be something that functions like a guitar solo, but it has some kind of semiotic weight to it,\u2019\u201d Lavers explains. \u201cI had this idea a long time ago that\u2019s like instead of a melody or counter melody \u2026 what if it\u2019s just sound? … It feels like I would cry right here, let me get a sound of crying.\u201d<\/p>\n Chanel Beads. Photograph: Moni Haworth<\/p>\n Throughout our conversation Lavers pauses to consider his choice of words. He has an elliptical, open-ended thoughtfulness to the way he expresses himself that is as generous to his listeners as it is slightly maddening for a journalist. He isn\u2019t evasive or even fussy. He\u2019s a dude \u2013 and a very plainspoken one at that. But he\u2019s also someone clearly attuned to the full weight of his words and how his certainties as an artists are heightened by the shadow of doubt. In other respects he\u2019s something of a black box, both to himself and to others. He doesn\u2019t easily ascribe causes to his feelings or share biographical detail<\/a> that is too personal. Lavers\u2019 ability to decenter himself is all the more remarkable given how beautifully he can capture fraught emotions in the round.<\/p>\n The closest he comes to a deep personal disclosure on the record is the absolutely gutting Tyler Richard<\/a>. The song, which bears the first and middle name of the artist\u2019s late brother, who died suddenly at 19 years old from accidental carbon monoxide poisoning, is about meeting a deceased loved one in his dreams. But their nightly presence isn\u2019t reassuring, it\u2019s agonizing. As Lavers wrestles with the limits of his grief, the song\u2019s ever spiraling synth progression gets subsumed by samples of blood-curdling screams. It\u2019s unclear whether he\u2019s barreled through or retreated from the music\u2019s roiling, white-hot emotion, but the song dramatizes how resolute one has to be \u2013 as both a person and an artist \u2013 to face down what pains you most.<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/06\/1782558010_743_500.jpg\")
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