Your Day Will Come, the second album from Chanel Beads, circles a question its creator Shane Lavers can't answer – whether it's the bleakness he feels or the warmth he's found that should carry more weight. For this week's cover story, he tells Best Fit about being caught between those two realities: "I wanted to figure out why one wasn't overcoming the other," he explains. "Are we living in hell, or is love enough?"
That question runs through every track on the new record, its lyrics dictated by dream logic and cut with flashes of dread. Released next week on Jagjaguwar, Your Day Will Come shares a title with its 2024 predecessor, a deliberate doppelgänger because Lavers wanted partly to wind up the marketing people: "This is the stupidest idea, it would piss people off," he says, "and I thought that was kind of funny." The album isn't a continuation or evolution for him: "I made another record, and I’ll make another one after this. I don’t know if they’re necessarily in conversation with each other so much as everything I’m making will be in conversation with itself.”
Sonically, Your Day Will Come is built less from influences than physical sensations. "I recorded sub basses being played on my desk, so the desk would rattle," Lavers says. "I wanted this texture of steam coming out of a kettle... the biggest influence on this record was hiss and air."
Your Day Will Come is a search for clarity, the music and the lyrics an articulation for something that lies just beyond his grasp. “There’s definitely a lot of grief stuff,” he says vaguely. “But I don’t like to talk publicly about it because… I get a little allergic to marketing things when it comes to that.”
Does writing music about loss helps you deal with it? “No,” he says bluntly. “Well, maybe that’s not true. What I want out of it, I don’t think I’m getting. It feels cathartic in the sense that it’s nice to be able to talk about what you’re struggling with, but the catharsis I’m personally looking for I can’t find when I put it into music. But then that’s what compels me to keep making it. Maybe the impossible will happen, or something.” - Sophie L. Walker
New Secretly Canadian signing Jordan Patterson has her label debut EP Songs From A Valley Girl out today; there’s ABSTRACT / NATURAL, the new record from beloved DIY Hull four piece LIFE; Scranton, Pennsylvania’s Dour have the beautifully heavy Agora; and there’s Tucker Zimmerman’s final and posthumous album Dream Me A Dream, as well the final fruits of Big Freedia’s 2016 session with SOPHIE.
Leading the London club revival, Coupdekat makes maximalist pop informed by an internet’s worth of influences and swayed by the attitude of Lily Allen, M.I.A and Basement Jaxx.
How I describe my sound... Dirty!!!
How I you started making music… I lowkey was a big Swiftie so I started by making Taylor covers, burning them on CDs and sending them to my family members... but then I was in a band in my teens and that’s when I properly started writing, we would just jam and I’d sing over it and make sense of it afterwards.
A book worth reading… I love Japanese thrillers… In The Miso Soup is probably my fave.
And a film worth watching.... Strawberry Mansion.
The best place to go out listen to music in London right now.... Unit 58 is always fun!!! They host some proper niche ungrounded hyper pop parties and obvs I love that.
Who else should we listen to... DJ Upstep !!!
I’m the happiest... Whenever I’m feeling down and the weather is good I’ll go to Oasis leisure centre in central after a few lengths my problems all seem far less significant.
The most important lesson in life is... You don’t have to do everything all at once, when I was at peace with that life got sooooo much brighter
The best gig I’ve ever played... My last headline show in 2025 because it was my first time making stage decor..me and my mum made these life-sized plushy of different things that I had in my pockets (like lighters, keys, gum etc) and it was soooo sick bringing an idea to life like that in a physical form. The crowd were awesome and were moshing the whole show !!!!!!
I’ve been going to this lake house in Kenilworth, a few neighbourhoods from where I live. I dated someone very briefly who introduced me to this moss garden there, it’s like you’re in Japan, it has these moss-covered pathways, all kinds of trees and animal life - heron, turtles and butterflies - it’s completely preserved.
Then I found out that there’s this guy who lives just down the street, he’s 90 years old and his name is David Herbert. My best friend Dev, who I was in Lisbon with, were walking through Kenilworth and we met David. He said we could use his canoe whenever we liked, anyone in the community can use his canoe between 12pm and 12am. Of course we loved that idea, so we went.
I was driving yesterday and “Night Comes On” came on shuffle. I never have my music on shuffle, I just plug my phone in, but for the longest time it was playing the same songs and it was driving me crazy every time I plugged it in, and for whatever reason this came on. I’ve been listening to Leonard Cohen off and on throughout my entire life, I’ve related to songs like “Suzanne” and all kinds of songs that he’s written, that I think articulate corruption in a way that no one else was really doing, even his own corruption, but with this song, for some reason I keep thinking of David when I hear it.
I’ve never felt super-close to my own father - we’re close, but typically we’re not very emotional to each other. It took him about eighty years before he said he loved me, but, you know, sometimes it takes people a while to say these things out loud. I feel closer to my father now, but David is that kind of archetype where he seems like a good father. Every time I go out to the canoe, I end up getting into a conversation about life with him, about his experience with fascism and the experiences that we’re having now in America.
I don’t know much about his personal life, he told me he was an investigative journalist and that his wife passed away a few months ago, she taught at college. They’d been trying to preserve the land around their house so that the city wouldn’t build on it, and they were trying to protect the lake and get all these people involved in saving the lake.
Every time I go over there, I hear a story from him that changes my life - every single time. I don’t know how to describe it without also creating a super long-winded answer to a Leonard Cohen song, but David is the new person I’ve met in my life who has been really inspiring to me. When I think about the lines of “Night Comes On”, where Leonard Cohen is speaking about a father reminding him that these people have lied, don’t forget, they’ve lied, and him not wanting his father to be right, but he was - he was right. It’s all there in the song and it’s pretty clear what it’s about but I just keep thinking of David, because he’s been an activist his entire life, and not an activist necessarily even in a political way. At eighty-eight years old, he was skydiving, that’s the kind of human David is.
Recently he found out that the social security office had moved location and that the new office was up a very steep hill. He found out that a private company owns a bus that take elderly people there, but it stops two blocks short of the destination. Then he found out who owned the building, he talked to the city and the government. He was trying to get the bus to take the people all the way to the office, that was all he was trying to do, but the city was taking forever.
In the meantime, David buys a van and shuttles people there himself. When I think of a father, that’s the kind of human I’m thinking of and to me “Night Comes On” is about fathering yourself through something and going out into and back into the world. Don’t get too attached to yourself, go back into the world, be a part of it, father it and mother it, like you would yourself.
Dropping at midnight every Thursday, follow our playlist for a taste of the best new music from the most exciting breaking artists. Leading the selection this week are new tracks from Museums, Jordan Patterson, Ebbb, Gizmo Curiosity Shop and the Kittens, and coverstars Speedial.
"I think records were just a little bubble through time and those who made a living from them for a while were lucky. There is no reason why anyone should have made so much money from selling records except that everything was right for this period of time. I always knew it would run out sooner or later. It couldn't last, and now it's running out. I don't particularly care that it is and like the way things are going. The record age was just a blip. It was a bit like if you had a source of whale blubber in the 1840s and it could be used as fuel. Before gas came along, if you traded in whale blubber, you were the richest man on Earth. Then gas came along and you'd be stuck with your whale blubber. Sorry mate – history's moving along. Recorded music equals whale blubber. Eventually, something else will replace it.” ― Brian Eno
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