Global soundscapes with Lisa Nordström

The Polestar universe is one of precision. Materials, colors, sizes, angles, they're all given what some might consider an obsessive amount of attention. This is done, in part, because we often use more than one sense when experiencing things. It's true of the products. It's true of the brand. And it's true of the Spaces.

I had to identify the themes that would work to heighten the experience, which might not work when taken out of the context of the Space.
Lisa Nordström

The burnished metal of the component wall, for instance, is more than eye candy. It's also nice to the touch, the tactile and the visual combined. And since nothing is left to chance in the Polestar universe, we obsessed over the sounds of the Space as much as any other attribute. Which is where Lisa Nordström comes in.

Composer, musician, and frequent Polestar collaborator Nordström has created a nine-hour score to be played in Polestar Spaces around the world. Comprised of four parts to be played in the morning, midday, the afternoon, and the evening, the score is more soundscape than soundtrack. Ambient sounds and themes create an immersive aural experience. Hooks, repetition, and choruses are absent.

"I approached it like the scoring of a film," Nordström explains. "I had to identify the themes that would work to heighten the experience, which might not work when taken out of the context of the Space."

That being said, one doesn't need to visit a Polestar Space to experience Nordström's creation (though we'd prefer it if you did, especially since we're opening more Spaces all the time). The global soundscapes she's created are now available on over 50 different streaming services, including (but not limited to) Spotify, Apple Music, Amazon Music, and others, along with pieces she's composed that represent each of Polestar 2's exterior colors.

The sounds heard in a Polestar Space are the latest focus of our obsessive attention to details. After all, it makes sense to make use of more than one sense.  

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