Circular Ruin was founded in 2020 when producers Randall Dunn, Arjan Miranda, and Ben Greenberg — each interested in the metaphysical and communal aspects of making records — set out to create a recording facility rooted in the praxis of a collective.

Since its inception, Circular Ruin has become a go-to destination for genre-spanning musical acts, art house film directors, and production companies alike. They have worked with legendary artists including Danny Elfman, Björk, Jóhann Jóhannsson, Oneohtrix Point Never, Sunn O))), Earth, Boris, Bing & Ruth, Algiers, Junglepussy, Myrkur, Marissa Nadler, Zola Jesus, and Drew McDowall.

Notable scores and productions for film and television include Panos Cosmatos’ Mandy (SpectreVision), Panos Cosmatos’ “The Viewing” episode of Guillermo Del Toro’s Cabinet of Curiosities (Netflix), Candyman (Universal Pictures), Julio Torres’ Problemista (A24), It Comes at Night (A24), Nathan Fielder and Benny Safdie’s The Curse (Showtime), Moloch (Shudder), G.O.A.T. (Killer Films), Salvage Marines (Crackle), Fair Play (Netflix), and 32 Sounds (DofMP).

With nearly a century of combined recording experience, deeply informed by old-world analog production, the award-winning trio is united by certain sonic philosophies: The alchemy  between analog and digital techniques, capturing sound at mix fidelity during the recording phase, and the act of making a record in the studio as medicinal.

In Jorge Luis Borges’ text “The Circular Ruins,” a sorcerer sleeps upon the precipice of an ancient ruin, in effort to “dream a man[...] in his minute entirety and impose him on reality.” Attended by cosmic visions across space and time, the wizard is revealed to be both the dreamer of the dream and the creator of its waking object. Dunn likens the act of record making to this recursive relationship between the dream, the dreamer, and the world.

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