From the re-reading of Jorge Luis Borges' famous story "The Circular Ruins," Peruvian composer, percussionist, and painter Manongo Mujica approaches some of his great obsessions with a new perspective: the desert of the Peruvian coast and the pre-Hispanic ceremonial centers found there. For years, the impressions of these places have evoked in Mujica a highly personal aesthetic, born from understanding the desert as a space for inner listening, and the ceremonial centers or "huacas" as a representation of mystery. Ritual Sonoro para Ruinas Circulares (Sound Ritual for Circular Ruins) is the synthesis, the dreamlike and sound amalgamation, and perhaps Manongo Mujica's ultimate album on his unique vision of the sound landscape and the desert. Building on a heritage of meditative and ethnic music, avant-garde jazz, and improvisation, here is a strange sound universe, based on the use of various drum and percussion rhythms (udu, djembe, gong, cajón, seeds, Chinese bells, etc.), field recordings and sound montages, dense, reverberating, gloomy, immersive, and hypnotic soundscapes. These gradually give way to a solitary and penetrating cello (performed by Fil Uno). Crescendos introduce electroacoustic processes (created by the Norwegian Terje Evensen), interweaving panpipes and ritualistic voices (performed by Gabriela Ezeta), shaping the atmosphere like that of a magnificent ceremony. The album features the participation of Cristóbal, Daniel and Gabriel Mujica, sons of Manongo. As well as with the participation of Fil Uno, Terje Evensen and Gabriela Ezeta. It was recorded by Juanjo Salazar at the La encía del Leopardo studio. Mastered by Mario Breuer. And with the cover art by Yerko Zlatar, based on photographs by Pauline Barberi. It is published by Buh Records in digital and in a vinyl edition, limited to 300 copies.