Welcome to the latest episode of More of a Comment, Really…, The Spool’s weekly composer interview podcast. Every episode, we talk to a new composer from the world of film or television, exploring what makes their latest works tick, boom, and sing.

As the Marvel Cinematic Universe expands its reach into TV, so too does its musical palate expand in turn. And so it goes with Loki, the latest Disney+ series, which will see its season finale next week. It’s been a wild ride, following Loki (Tom Hiddleston) through his misadventures with the Time Variance Authority, his unlikely friendship with TVA agent Mobius (Owen Wilson), and the ongoing quest to discover exactly who’s behind the TVA’s implicitly sinister plans — with the aid of a female version of Loki named Sylvie (Sophia Di Martino), to boot.

It’s a strange, twisty show that befits its always-evasive main character, one as indebted to its comic book origins as it is shows like Doctor Who That requires an equally enigmatic score courtesy of award-winning composer Natalie Holt — she’s a multi-instrumentalist who throws plenty of woozy ’50s sci-fi flavor into the Mad Men-meets-Brazil environs of the TVA. She received an Emmy nomination for PBS’ Victoria, as well as a Royal Television Society Craft and Design Awards for BBC’s Three Girls. She’s also scored films like Phyllida Lloyd’s Herself, and TV shows like Wallander and The Honourable Woman.

Holt joins us on the podcast from Los Angeles to talk about the eerie sounds of Loki, talk Wagner’s influence on the score, and provide some select track commentaries for some of the series’ most interesting cues.

You can find Natalie Holt’s official website here.

Loki is currently streaming on Disney+, and you can find the first volume of the soundtrack (covering episodes 1-3) on Spotify and other music streaming services.