Beauty In Chaos return with Quiet Place, the fifth studio album from Michael Ciravolo’s Los Angeles-based project, released September 28 via 33.3 Music Collective. Produced by longtime collaborator Michael Rozon, the album brings together familiar and new voices across ten principal tracks, with three bonus covers included on the deluxe CD and digital editions.
“Stations Ov The Cross (Revisited)” opens with Patrik Mata over bright new wave guitars, its pop sensibility gradually gathering weight toward a satisfying final chorus. “You Made Me A Weapon,” featuring Julian Shah-Tayler, moves into more direct guitar rock, with a simpler melodic shape and a chorus built for immediate recognition. “Silent Scream,” featuring Nick Schultz, reaches for greater intensity, although its abrupt transitions occasionally interrupt the momentum.
Then “Home” arrives and everything locks together.
Featuring Ashton Nyte, the song feels completely aligned between voice and arrangement. Nyte’s vocal belongs so completely inside the music around it that the guitar, vocal and emotional weight seem to arrive from the same place. There is something of the lingering ache of The Cure’s “Pictures of You” in the way affection and pain occupy the song together, with love allowed to remain beautiful even when it carries damage.
From there, Quiet Place enters its strongest run. “Outtasight Outtamind,” featuring Leo Luganskiy, begins with small, clean guitar plucks before the vocal changes the entire temperature of the track. The performance is light without becoming fragile, with beautifully controlled flips between notes that give the melody a strange ease. The guitar remains just as important. Together they create the feeling of walking through New York in late September while stressed out of your mind, yet somehow aware that the whole thing looks like a movie scene. Life has not become easier. For four minutes, it has become cinematic.
“Second Soul (Druha Duse)” with Whitney Tai goes somewhere quieter and more dangerous. Tai’s voice is soft enough that its force seems to come from beneath the obvious volume of the performance. It feels grown from the chest, low and vibrational, carrying intensity without needing to push. There is a *Portishead*-like mutedness to it, though the most striking thing is how close her voice comes to behaving like another stringed instrument. A delicate guitar or mandolin-like figure moves beside her, and at moments the distinction between the two almost disappears.
“A Rare Kind Of Lover” follows with Cinthya Hussey, whose vocal has an almost crystalline clarity. Her voice floats without thinning out, carrying a chiming quality that gives the seven-minute track much of its enchantment. There is something particularly lovely about the fullness she maintains in her higher register, with notes that seem to linger in the surrounding instrumental textures. There is a certain pleasure in simply listening to the particular sound of her voice, the way it rings and colours the music around it.
“Dying Light,” featuring Brent Meyer, stretches into a longer, more progressive shape, with spacious guitar passages and a patient, distinctly Pink Floyd*-like pacing. It is followed by “Little Parasite,” where *Betsy Martin enters over an instrumental that initially carries a clipped electronic pulse reminiscent of darker synth pop. Martin’s voice is unusually thin and small in tone, yet never weak. The strength comes through the way she bends pitch and changes shape around phrases, making that smallness feel deliberate.
The title track returns to Ashton Nyte and gives him an even better setting. On “Quiet Place,” his deep gothic vocal seems to sit partially underneath itself, with lower layers shadowing the lead rather than simply doubling it. That depth makes the voice feel seductive without needing to push forward in the mix. It shines precisely because part of it remains submerged.
The bonus covers take the album into considerably different territory. “God’s Gonna Cut You Down” leans into a familiar stomping, chant-driven rock language.
“Get Down Moses” makes the much stranger move into ska and reggae. That turn should probably feel ridiculous after everything before it, but instead it is one of the album’s most enjoyable surprises. Beauty In Chaos commit to the rhythm enough that it feels playful rather than decorative, with the guitars taking on a completely different kind of movement.
The final cover, Patti Smith’s “Dancing Barefoot,” returns to a more intense rock atmosphere, with Ciravolo taking the lead vocal and Tish Ciravolo contributing whispers and narration.
Quiet Place was curated by Michael Ciravolo and recorded, mixed and produced by Michael Rozon at SAINTinLA Studio. Tim Perry serves as executive producer, with mastering by Dale Becker and cover paintings by Maren Platzhoff. The video for “Home” was filmed by Vicente Cordero and Ashton Nyte, and directed and edited by Nyte.
Quiet Place is out now via 33.3 Music Collective.
Watch God’s Gonna Cut You Down
