Holzweiler x SENSE SOUND: Mountain Resonance

In 2021, researchers found that Switzerland’s Matterhorn vibrates at 0.42HZ. Using the same logic that led to this discovery, the team at SENSE SOUND used AI to speculate the frequency of Besseggen, Dovre, Narvik and Steilia; transforming them into unique and theoretical soundtracks of distorted melodies and pitches for each natural landscape. Each handcrafted composition blends its mountain’s estimated resonance Hz frequency with field recordings captured in October. The result is an audiovisual fantasy where distorted sounds of technology collide with the beauty of Norwegian nature.

Swedish Design Studio for Sound, SENSE SOUND explores the intersection of form, emotion, and movement; using sound and music to shape how we perceive objects, spaces, and time. Their work blends composition, storytelling, and material exploration, creating sonic worlds that move between the structured and the intuitive, the designed and the felt. Following sound as the North Star, the team, CEO Sebastian Tsegay and head of sound, Marcus Mackan, have collaborated with independent art director Viktor Agaton, and Norwegian filmmaker Gustav Stegfors to present our immersive in-store installation which enlivens all the senses. 

Our Narvik, Dovre, Besseggen and Steilia jackets are the heroes of the story, hanging amongst four artificially-carved interpretations of the mountain ranges. Alongside them, headphones play each unique piece soundtracking short films, captured on location by Viktor and Gustav in the mountain regions in early fall 2025. A treat for the nose, ‘Winter Saga’  by Swedish fragrance house Unifrom fills the air, completing the immersive experience.

We sit down with Seb, Marcus and Viktor to delve deeper into the thoughts and process of the masterminds...

What drew you to working with sound? 

Seb: My connection to sound started early through my father, who is a musician and organised various music events. Growing up around that environment naturally drew me toward working with sound as a creative medium.

Viktor: I love working with sound first, visuals second. I think we all need more audio and less video at this point in time. 

Why did you want to be part of the SENSE SOUND world, and what are you most passionate about?

Seb: I joined about a year after the agency launched and eventually became a partner. The incredible infrastructure attracted me - the studios, talent, composers - there was a strong foundation to build on. More importantly, I saw the potential to expand SENSE SOUND beyond traditional music and sound design services for advertising campaigns and movies. I was excited about the idea of creating an entire universe around sound, exploring how it can shape culture, storytelling, and experiences. That vision is what drives me the most.

Why was Gustav Stegfors perfect for the visual element of this project?

Viktor: I think Gustav is one of the most interesting directors at the moment. We made a music video together earlier this year, so when Seb approached me with this project I knew Gustav was the right person. When I told him about the concept, it turned out to be a crazy coincidence… He had been at Besseggen with his family just a couple of months earlier and had a moment by one of the lakes, by himself, where he had this overwhelming sensation of mountains vibrating. It was one of those moments where another person had the same idea, at the same time. We actually ended up visiting that exact spot where he had this vision, it’s included in the edit. A true full-circle moment.

Can you take us through how you engineered the soundtrack for this project?

Marcus: The idea that the mountains are “alive,” emitting frequencies beyond the range of human hearing, became central to the process. Because so many of these tones sit far below our hearing range, the challenge was to bring them into focus without losing each mountain’s natural character. The aim wasn’t to replace the sounds, but to gently amplify what was already there. By reshaping the on-site recordings, we discovered a mix of low rumbles and subtle overtones that gave each mountain its own sonic identity. Familiar sounds, whether a gust of wind or a trickling stream, shifted into new textures once we worked with them. With careful processing and analog synthesis, we amplified nuances that normally stay hidden, while keeping everything grounded in the mountain’s core identity. 

We love the artistic use of AI, how it doesn’t replace creativity but enhances it. Can you take us through AI’s role in this project?

Seb: It played more of an architectural role. Our approach to sound is very handcrafted, so rather than shaping the music, AI helped us “listen” to the mountain - estimating its resonant frequency and giving us a structural pulse to respond to. It became a kind of hidden framework, something that sat beneath the surface, while the actual sound grew through our own process and intuition. AI wasn’t the creative force, but it added a layer of insight that fed into the atmosphere, while the expression remained human and raw.

The fusion of AI and nature is so interesting, why does it inspire you so much? 

Seb: They’re two different systems speaking to each other - one organic, one synthetic. The tension between them sparks new ideas.

Why did you want to work with Holzweiler?

Seb: The relationship began very organically, and for us, the brand is as much about the people behind it as the work itself. The starting point was that human connection and, of course, the products and Holzweiler’s relationship to Nordic nature are things we genuinely relate to and admire.

At Holzweiler, we draw inspiration from our natural world and our Norwegian home - how does the natural world and your surroundings in Stockholm inspire your work?

Seb: My connection to nature influences my work in a more indirect way. I often take walks in nature - that’s usually when I get the space to reflect on work and life in general. I think that time to reflect helps me gain clarity and come back to work with a sharper perspective.

In your own words, how would you each describe each sound?

Marcus: To me, Besseggen feels electric yet grounded - a hovering energy that never fully settles. It carries a quiet charge, like a current moving just beneath the surface. Dovre strikes me as light and steady, the most musical of the four. There’s a clarity to it - almost as if the mountain hums its own calm, effortless melody. Narvik feels unpredictable and ear-tickling, shaped by a windy presence that never repeats itself. It’s almost as if the mountain is speaking - sending brief, breath-like phrases into the air. Stelia comes across like a perfect storm - warm, textured, and beautifully organized in its chaos. It has a natural momentum, as if multiple forces are aligning into one coherent pulse.

Which of the four unique mountains and their soundtracks do you like most? And which is your favourite of the four hero down jackets?

Seb: Besseggen’s composition is my personal favourite - the sound of water has always had a calming effect on me, so the presence of water elements in the soundtrack really speaks to me.

Viktor: Definitely the Narvik Short Down Jacket. The fit is exceptional - it’s structured and well-proportioned, which is exactly why it stood out to me immediately.

If you’re in Oslo, come and visit us at our Prinsens gate store to experience mountains in a new way; not by looking at it, but by listening to it. Akersgata 16, 0158 Oslo. Not in Oslo? Discover more and listen to the sounds at your own pace here.