Todh Teri has carved a distinct path through his edits and conceptual releases, blending vintage influences with a forward-facing approach to electronic music.
Photo credit: Todh Teri – Official
With roots in reinterpreting archival sounds and reshaping them for contemporary contexts, his work continues to evolve through experimentation and a strong focus on identity.
His latest release, ‘The Return Of Hari Heart’, marks the eighth installment on Masala Movement and introduces a new vinyl-only series. Built around three tracks — ‘Smriti’, ‘Ṛṇa’, and ‘Prem’ — the record leans into deeper textures, analog warmth, and open-ended storytelling, inviting listeners to form their own interpretations.
In this conversation, Todh Teri opens up about creative evolution, randomness, sampling, and the philosophy behind his latest work.
EG: Hi Todh, welcome to EG. ‘The Return Of Hari Heart’ feels like a new chapter. What sparked this shift in direction?
Todh Teri: First of all, thank you, EG for having me and showing interest in what I do; it means a lot! Evolution is essential. I believe in keeping things interesting, especially when it comes to creativity. The new series is all about exploring randomness, which I strongly believe in and which has also helped this alias turn into something completely unexpected. It’s about breaking my own norms and ways of producing music, creating more “non-functional” tracks, and maintaining a healthy balance between both.
EG: Who is Hari Heart, and what role does this character play in the EP?
Todh Teri: Hari Heart is an iteration of a character from ‘Deep in India Vol. 7’, who now has his own identity. There’s no direct connection between the music and Hari Heart; it’s a title and a face. But everyone can create their own stories, which is the beauty of it. The series consists of five characters, and how they are interconnected is for the listeners and vinyl collectors to decide. It’s an open ground for imagination to run wild!
EG: This release leans into deeper, more emotional territory. Was that a conscious evolution from your earlier work?
Todh Teri: Evolution, yes. Conscious? Not sure. I guess it’s like watching your kids grow up and growing with them; it’s automatic and co-dependent. So it wasn’t planned that the new series would sound like this; it just happened. Most of the music just happens; you just need to see it, understand it, and shape it.
EG: Your alias has a bold meaning. How does the idea behind Todh Teri still reflect your approach today?
Todh Teri: Ha ha! Sorry… first of all, my name has no actual meaning; it’s just two random words put together, which eventually transformed into an alias, project, and label. Like I mentioned earlier, exploring and accepting randomness, whether in music or life. You take something you have no clue about, something you don’t know what to do with, and make it your own. But it’s not really yours; it’s a byproduct of something you didn’t expect to happen, yet it did. Makes sense? That’s my approach today: finding peace in chaos and creativity in randomness.
“Limited things are more appreciated; it’s human nature. Anything in abundance is often taken for granted”
EG: Where do you typically dig for samples, and what draws you to a particular piece of music?
Todh Teri: Most of the songs I’ve edited already live in my core memory, but I also keep looking out for cheesy and tacky numbers. I believe every tune has a soul, no matter how strange it may sound to many. If you listen closely, you’ll always find something that catches your ear and voilà!
EG: You have been vocal about the #dontcallitbollywood stance. Why is it important to challenge that label?
Todh Teri: “Bollywood” is a derogatory term for Indian cinema. It’s more of a commercial label, an easy definition for the world that doesn’t really understand the depth of what the golden era of Indian cinema had to offer. Everything just got put under one umbrella. This is my way of creating awareness about not mixing up commercial cinema with the underground. It’s like calling all electronic music “EDM”, which literally translates to electronic dance music, but it’s not!
EG: What made you commit to a vinyl-only format for this release, especially in today’s digital-first landscape?
Todh Teri: As a vinyl collector, it’s essential for me to have my own records. Limited things are more appreciated; it’s human nature. Anything in abundance is often taken for granted. These records allow collectors and music lovers to truly be a part of the project. And as a live performer, it helps me deliver a better experience, knowing that for most people, that’s the only way to hear these edits.
EG: Each track, ‘Smriti,’ ‘Ṛṇa,’ and ‘Prem,’ feels distinct. Are they connected by a broader concept or narrative?
Todh Teri: I’d rather let the audience come up with their own theories. Are these just random names? Are they part of a larger concept? Why these names? Will future records connect back to them? That’s for the listeners to explore.
“Finding peace in chaos and creativity in randomness”
EG: There’s a hidden locked groove at the end of the record. What inspired that detail?
Todh Teri: A perpetual record, come on! You should get something special for the ridiculous price you’re paying for a record these days.
EG: If this EP had a visual world or scene attached to it, what would it look and feel like?
Todh Teri: Chaotic, yet calm and serene, a meditative space with a lot of madness around it. Love, music, dance, food, and harmony…
Todh Teri’s ‘The Return Of Hari Heart’ is out now on Masala Movement. Stream and download here.
Follow Todh Teri: Spotify | Soundcloud | Instagram
