THE GRAND REDUX was recorded at Blue Ghost Basement, the recording studio built by Punch Buggy in the Delaware Valley. The studio takes its name from Blue Ghost Collective, an unrealized arts collective conceived by the band's members while attending high school and first performing together in Wilmington, Delaware. Principal tracking was completed in fewer than three days, while overdubs continued remotely over the following months. Although the core performances were recorded at Blue Ghost Basement, much of the album's additional material was completed wherever space was available. Stanard recorded the majority of his lead vocals alone in an unused law firm conference room on weekends, while other overdubs were completed remotely from the members' home studios. 

The sessions marked Punch Buggy's first extensive use of sampling as a compositional tool. Existing records, field recordings, producer tags, and excerpts from the band's own rehearsals were treated equally as source material, with improvised performances frequently chopped, rearranged, and layered into finished songs. Rather than documenting live performances, the band approached recording as an editing process, constructing arrangements from fragments of spontaneous performances and blurring the distinction between live performance and studio composition. 

“FÁILTE” starts the album by exploring themes of urban alienation and persistent frustration within modern life while introducing the album's sample-based aesthetic. Combining new compositions with a collage of sounds from experimental Japanese band OOIOO and Radiohead B-sides, the track sets a precedent for the album’s use of fragmented source material as a means of constructing narrative and mood. 

“CZECHS” recalls Stanard’s earliest experiences playing music with friends in Wilmington through a collage-like arrangement of archival recordings and self-sampled material. The track incorporates samples of the introduction to Link Wray's 1974 live performance of "Rumble" and a heavily edited clip of the phrase "Vegas baby" from a YouTube bootleg of Stanard's first band, Rusty Blue, performing at Arden Gild Hall in 2018. Self-sampling also forms the structural basis of "STADIUM", which was assembled from edited excerpts of an early rehearsal before being expanded through overdubs. 

"PUSH" originated as a collaboration between Greg Stanard and Tahj Keeton, written and produced at the now-closed Nana's House studio in Los Angeles. After gifting the song to Punch Buggy, many of Keeton's lyrics and melodies survived, though Stanard later rewrote portions of the vocal and composed the chorus. 

Longtime collaborator Joey Heins contributed shared lead vocals on "VERTIGO" and arranged and performed the cello parts on "SONOR". 

"NIGHTMARE" combines programmed drums by Stanard, heavily processed sampled percussion, and live drumming by Patrick Berl, reflecting the album's broader emphasis on integrating electronic manipulation with live performance. 

In contrast to the album's densely edited production, the closing track "MANTRA" consists entirely of an unaltered iPhone voice memo recording.