Your Day Will Come
Alright, so I’ll be real with you—I had no idea who Chanel Beads was before today. I saw the album cover floating around Twitter (or X or whatever it is now) and thought it looked kinda sick. Very moody, very cryptic, kind of like if a perfume ad had a weird dream. I wasn’t expecting much, mainly because Ambient Pop isn’t really in my regular rotation. Like, if you caught me listening to ambient anything, I’m probably either writing an essay last-minute or trying to clear my head. But something about this project pulled me in.
I hit play and immediately got it. The first two tracks don’t ease you in—they sort of float you down from some cosmic place. There’s this brightness, like walking into a sunlit room after being in a dark movie theater. It’s airy, but it moves. Not in a dance-y way, more like it gently guides you into its own little world.
The opener, “Dedicated to the World,” immediately sets a tone that feels both intimate and massive. It’s bright, slightly glitchy, and surprisingly catchy—like something that should be playing while you’re watching the sunset from a rooftop in a city you've never been to. “Police Scanner” follows it up with this jittery, static-ridden energy. It’s more anxious, almost like eavesdropping on someone else's thoughts.
Then comes “Idea June” and “Embarrassed Dog,” which both feel like sketches in a dream journal. “Idea June” is short but tender—like a musical whisper. “Embarrassed Dog,” on the other hand, is oddly charming, with this playful awkwardness that made me smile even though I couldn't tell you exactly why. There’s a mood here that feels like glitch-pop but also like a shoegaze demo that got warped through a microwave.
“Unifying Thought” kind of caught me off guard. It’s eerie, like it’s leading up to something that never quite arrives, and somehow that makes it more impactful. Then you hit the title track, “Your Day Will Come,” which is where things start to really spread out. No vocals, just this instrumental glow that feels so celestial it might as well have been composed inside a lava lamp. It’s beautiful, slow-moving, and full of space—like floating in warm static.
Now this is where I started buying into the hype: “Urn” might be my favorite track here. It’s longer, more layered, and really lets the production breathe. The snares hit with just enough crunch to ground the floaty synths, and there’s this dissonance that creeps in under the surface—it’s subtle but makes everything feel just slightly off in the best way.
Then “Coffee Culture” happens and it’s like a full-on astral projection. The first half of the song is gorgeous. Everything is soft, glowing, and intentional. But halfway through it all collapses into something darker—like the light gets swallowed and replaced by a stranger, more abstract version of the song. It doesn’t even feel like a breakdown; more like a rebirth into something weirder.
The closer, “I Think I Saw,” switches gears again. It starts minimal with some string-pluck energy, but builds slowly into this warped 80s-style dream sequence. The vocals are hazy, tucked way into the background, and it ends on this note that feels unresolved—but maybe that’s the point. It’s a weird way to end a weird album, and I mean that with love.
All in all, Your Day Will Come isn’t really something you just listen to—it’s something you sit with. It’s textured and strange, kinda sad, kinda hopeful, and very personal. Shane Lavers (Chanel Beads) clearly put a lot of thought into how this thing moves and breathes, and it’s made me want to explore more ambient and dream pop stuff.
If you’re looking for something immediate or easy to hum along to, this probably isn’t it. But if you’ve got 30-ish minutes and an open mind, it might just take you somewhere unexpected.
CHANEL BEADS - YOUR DAY WILL COME
RATING - 9.1/10
FAVORITE TRACK - Police Scanner, Urn
GENRE - Ambience, Pop, Indie, Alt