Delhi Crime, the critically acclaimed Netflix series, has once again pushed the boundaries of storytelling and soundscaping with its third season. At the heart of this sonic tapestry is composer Ceiri Torjussen, who has woven a haunting blend of synth textures and traditional Indian instrumentation to mirror the series’ balance of grit and empathy. I had the opportunity to sit down with Ceiri and delve into his approach to scoring this emotionally charged story of human trafficking, as well as his expansion of the show’s sonic world while maintaining its established tone.
Ceiri’s approach to scoring Delhi Crime is a testament to his dedication to the craft. As he notes, ‘Delhi Crime has such a distinct tone—one that is both gritty and emotional, yet deeply human.’ This tone is reflected in the show’s music, which has evolved over the seasons to incorporate a wider range of instruments and sounds. Ceiri explains that he drew inspiration from traditional Indian instruments such as the sarod, santoor, and bansuri, while also incorporating Western elements to create a unique sonic identity for the show.
One of the standout aspects of Ceiri’s score is his use of synth textures to create a sense of tension and unease. This is particularly evident in the scenes featuring Badi Didi and her client, John Gupta, where the music takes on a darker, more ominous tone. Ceiri notes that this decision was deliberate, saying, ‘I focused on instruments like sarod, santoor, and bansuri… But New Delhi is a very cosmopolitan city—a true melting pot of religions, languages, and cultures—so this is reflected in my music also.’
One of the most striking aspects of Ceiri’s approach to scoring Delhi Crime is his willingness to let silence speak for itself. As he notes, ‘Deciding
