For what LokiComposer Natalie Holt knew there were two songs essential to the score. After creating themes for Locke and TVA, Holt found that her group branched out easily and she created themes for other characters as well.
Loki it happens later The Avengers: The Last Game, when the god of evil escapes and creates a parallel world that warns of the time-varying organ, or TVA. When a choice is made between attending the TVA or a reunion between his disappearance, Loki moves into a time travel thriller in search of much greater danger.
Holt worked closely with director Kate Heron to figure out which instruments and musical style would work for a character like Lokia. Due to the closure of the pandemic, he was given more time to experiment, resulting in a varied soundtrack that perfectly reflects Locke’s chaotic nature.
Deadline: What did director Kate Heron mean by the soundtrack?
Natalie Holt: I wanted it to be more electronic, but it turned out to be more orchestral than I thought. We both had this idea of the term, for some reason we both listened to this instrument and connected a lot of analog sounds. I had this reference A Mechanical orange In my head because I felt the connection between that character and Loki in a weird way. They’re both crazy and evil villains you sympathize with, and then singer-songwriter Wendy Carlos came to mind while she was listening to classical music. A Mechanical orange It had a huge impact on me when I was in my formative years. So this was the inspiration and also one of my clues.
Deadline: how did you play the chaotic character of Loki?
COPSE: The fact is that I had a long time because it was closed and somehow we closed it. So I ended up with a year on the project, which is more than you normally look for in a TV series. So that just meant we could do things like take control Loki Theme and do a jazz version, or a samba version, or a rock version … we just played in different genres to really fit in with the chaotic nature of the show. It felt like you could really go to town and do something new for each episode, but still keep the theme consistent so that people would walk out of the show and hear the theme song and hear, “There you go.” I also wanted to have these two pillars of series, which was the theme of this title, and TVA, which is Kang’s theme.These were the two things I created first, and then all the themes of the other characters emerged.
Deadline: The TVA theme has a lot of time ticks, how do you combine them into a score?
COPSE: I guess this is a tropic. Very often a tense dramatic scene is seen and a kind of tic is heard to increase the pressure of the scene. I think this is a device that is used quite a bit on TV, so I really wanted to play with it to give it a sense of timing, but I didn’t want to use it in a linear fashion. So I sampled watches, of different types, such as clocks and stopwatches, from records using an analogue recorder, which gave it a kind of washed-out quality. Then, as the recorder was slightly broken, they stopped and started and there was no constant ticking. It was the scent of the time rather than a tension device, as is often used.
Source: Deadline
