Natalie Holt on Composing New Themes & Exploring Time Periods in Loki Season 2

Article Overview

Loki season 2 continues to impress with its visually bold and emotionally complex storytelling, upping the ante from the first season.

Composer Natalie Holt delivers a haunting and evocative score, drawing inspiration from the show's time-travel narrative. By incorporating Norwegian folk instruments and Theremins, Holt introduces a distinct and seamless musical composition for the series.

Loki season 2 solidifies Tom Hiddleston's Loki as one of the most multifaceted characters in the Marvel Cinematic Universe. The second season builds upon the visually striking and emotionally intricate foundation laid by the first, allowing the original cast of characters to shine while also setting the stage for Avengers 5. With its own merits, Loki season 2 stands as one of Marvel's top projects of 2023.

Given the exceptional nature of the show, a distinctive musical score is warranted. Composer Natalie Holt, who previously worked wonders on the first season, returns to deliver another outstanding composition for Loki season 2. This time, Holt creates a darker and more evocative score, incorporating elements that align with the show's time-bending storyline. As an added touch, Holt even makes a cameo appearance as a musician in the show's third episode.

Natalie Holt Talks Loki Season 2

Natalie Holt discussed important themes in the second season of Loki, highlighting the distinctions between the new season and its predecessor. The interview, which took place during the 2023 SAG-AFTRA strike, acknowledges the crucial contribution of the union actors to the existence of the show. This interview has been edited slightly for brevity and coherence.

Our website: I saw that, when you were doing season 1, you started composing toward the end of the season first. Did you take a similar approach to season 2?

Natalie Holt expressed her enthusiasm for the content of episode six, which had been teased and whispered to Loki throughout. She explained that she had written to the script before seeing any pictures and had also worked on the new O.B. theme early on. Holt enjoyed this approach as it provided a framework for mapping things out.

When asked about the different time periods explored musically in the season, Holt shared her love for the variety. The '70s theme and the 1800s music were particularly noteworthy. The interviewer then inquired about the most challenging time period to write for, or the one that required the most research.

Natalie Holt: None of it is completely accurate. When it comes to the 1890s, I created my own interpretation based on what I imagined it could be like in a different multiverse or something. Most of it was just my imagination at work, rather than aiming for historical accuracy.

As for the Norwegian folk instruments, I happened to hear Olaf and Erik, along with a violinist friend, performing Nordic traditional music at a concert about a year ago. It suddenly occurred to me, "Wouldn't it be fun to incorporate those instruments into my work?" I remembered how beautifully they sounded. So, there was also an element of randomness and coincidence involved in my decision.

It perfectly suited Loki's heritage, his past, and his mother. It also fit Sylvia, with her theme being based on a more traditional Norwegian instrument. As for Mobius, I had only read the script at that point and hadn't seen Owen Wilson's performance yet. But I envisioned him as a laid-back agent who loves jet skis and possibly listens to Bon Jovi. That's why I incorporated the guitar for Mobius, although I didn't use his theme heavily in season 2.

I also appreciate your choice of instruments. I have a fascination with Theremins, and I noticed the inclusion of the Nyckelharpa and other instruments this season. When composing for these instruments, do you extensively research their correct articulations or do you prefer to collaborate with a player and discuss the instrument's capabilities with them?

Natalie Holt: To collaborate with Erik and Olaf, I often share a piano melody with them and request something similar. I also ask for an improvisatory touch to it. They send me their version, and then I build the composition around it. Occasionally, their previous work inspires me before I begin.

As for Charlie, the theremin player, I send him compositions using a basic synth theremin. The theremin's expansive range produces an incredible low end. By layering it with low synths, it creates a sub bass-like texture. Charlie has acquired new instruments from season 1 to season 2, and they sound amazing. He records the melodies on these different instruments and offers me multiple options. One new addition is the Gong speaker, which he incorporates to achieve unique effects. Surprisingly, there are moments in the score where theremin is used with effects that are unrecognizable as theremin.

I really love O.B.'s theme, especially the various layers. Can you walk me through some of the main components? Is it just interesting synth patches or are there other elements too?

Natalie Holt: The theme includes synth patches, a recorder, and a sheng. I added a layer of string pizzicato, which I processed to give it a edgy sound. Additionally, there's a subtle 808 beat, giving it a retro feel. The theme also incorporates the sound of clocks and some unconventional kitchen sink percussion to match the character and his workshop's chaotic atmosphere.

Did you feel the need to make any adjustments to your work after seeing the script come to life through the footage and Ke's performance in the production phase?

Natalie Holt: It stayed pretty faithful to my initial vision, actually, especially in terms of its offbeat nature. When it came to orchestrate the music for the orchestra in season 2, I would typically be on version one or two because it just felt right from the start. It's rare to work on a project where you don't have to make any changes and you're still on the first version. For the O.B. theme, there were some minor adjustments based on the pictures, but overall it remained unchanged. The team heard the theme, loved it, and decided to keep it as is.

How did your cameo in the show come to be? Did you personally ask to be included?

Natalie Holt: The producer approached me and mentioned that they needed someone for on-camera music at the Chicago World's Fair. Since they were filming in London, they suggested that I come on set. They thought it would be really cool if I wanted to do it. It was a great opportunity for me and my theremin player, Charlie, who ended up playing the trombone, to spend some time together.

I actually knew him a bit before the show, but we've grown into close friends in the past two years. Last summer, I was invited to perform at a film music concert in Malaga, where I played a suite from Loki. They also asked Charlie to join, so we went on a road trip to Spain with his ondes. Now, we have experienced a road trip, a cameo, and Loki together.

A large part of this score comprises exciting and enjoyable moments, but it also acknowledges that Loki has undergone significant personal growth this season. Were there specific ways in which you wanted to reflect this through the music, or score him differently this time?

Natalie Holt: I didn't really create any lighter versions of the Loki theme. It typically has a dark undertone. The music towards the end of episode four is challenging and dissonant, using the Loki theme in a serial manner to convey his anguish. He has been torn through time and is facing difficulties, so a darker and introspective tone emerged in the season 2 score.

Is there a particular theme or moment from the season that you enjoyed scoring, and has it been aired yet?

Natalie Holt: No. The conclusion of episode six, the final reel, held immense significance for me. It truly felt like the culmination of a remarkable journey. Undoubtedly, that was the ultimate highlight of this show.

About Loki Season 2

In the company of Mobius, Hunter B-15, and a group of both familiar and fresh faces, Loki embarks on a journey through an ever-expanding and more perilous multiverse. Their mission is to track down Sylvie, Judge Renslayer, Miss Minutes, and uncover the true essence of free will and the purpose of greatness.

Check out our other Loki season 2 interviews here:

Kevin Wright

Christine Wada

Dan DeLeeuw

Kasra Farahani

Isaac Bauman

Loki season 2 debuts new episodes on Disney+ every Thursday.

Source: Our website Plus

Editor's P/S

Natalie Holt's score for Loki season 2 is a haunting and evocative work that perfectly captures the show's time-travel narrative. By incorporating Norwegian folk instruments and Theremins, Holt creates a distinct and seamless musical composition that sets the stage for the second installment of this thrilling series.

In an exclusive interview, Holt discusses the importance of the musical score in Loki season 2 and how she approached composing for the different time periods explored in the show. She also reveals that she makes a cameo appearance as a musician in the show's third episode. This is a fascinating interview that provides insight into the creative process of one of the most talented composers in the industry.