buckle up 1/3

Profile and significance

Eirik Moberg—better known as “Kryptoskier” or simply “Krypto”—is a Norwegian freeski stylist from Arendal whose influence comes from films, sessions, and street/park projects rather than bib numbers. Born in 1997, he became a cult favorite for buttery presses, carved entries, and unusually calm body position on metal and jumps. His persona is unmistakable on screen: monochrome fits, decisive lock-ins, and edits that read cleanly at full speed. While he has a FIS record from his youth, Moberg’s real footprint is cultural. He appears in rider-led projects across Scandinavia and the Alps, turns up each spring in the broader Kimbo Sessions orbit, and fronts a promodel with ON3P Skis that channels his rail-first priorities. In 2025 he and countryman Mats Bjørndal won Copenhagen’s Scandinavian Team Battle on the dryslope at CopenHill, a scene event that underlined what fans already knew: Krypto’s skiing convinces judges and cameras without compromising style.

Competitive arc and key venues

Moberg’s “arc” lives on film and at style-centric gatherings. Early on he logged conventional starts, then pivoted decisively to rider-driven edits that rewarded his tempo and trick math. The turning points are visible in a string of European park and street projects—shorts filmed around Innsbruck that distilled his smooth, low-effort aesthetic; segments with ON3P’s crew that pushed his name far beyond Norway; and recurring spring laps in Sweden that honed rhythm on creative features. His 2025 win at the Scandinavian Team Battle with Bjørndal landed on a public stage, but it was built on years of clip-tested repetition.

Place explains the skiing. Innsbruck’s parks and surrounding backyard setups encourage high-frequency laps where takeoffs come fast and in-runs are honest; the city’s creative scene nurtures the “make it look easy” mandate. The long, shape-perfect spring days at Kläppen reinforce flow and speed control across dense rail sections and medium-to-large booters. Back home, an Oslo base keeps him close to urban features when storms line up, while coastal trips and inland sessions maintain the edge discipline characteristic of Norwegian park riders. Each venue prizes cadence and momentum management, and Moberg’s edits mirror that reality.

How they ski: what to watch for

Krypto’s hallmark is economy. Approaches are squared early; shoulders stay stacked; lock-ins look decisive rather than dramatic. On rails he favors surface swaps that resolve cleanly, presses with visible shape, and exits that protect speed for the next feature. The result is a line that breathes—there is space between moves, so tricks serve one another instead of competing for attention. On jumps he chooses measured spin speed and deep, stabilizing grabs that quiet the axis. You’ll see tails, blunts, and safeties arrive early and stay long enough to influence rotation, not just decorate it. Directional variety comes without panic: forward or switch, left or right, each decision respects the available runway.

If you’re evaluating a Moberg clip, two cues stand out. First, spacing: he creates room for the next setup with subtle speed checks that never spill speed into landings. Second, hand discipline: quiet arms and a tall, patient takeoff make heavy tricks look unhurried, which is why his skiing reads perfectly at normal speed—and why it ages well on rewatch.

Resilience, filming, and influence

Moberg’s influence is cumulative rather than episodic. Through winters of street missions and resort builds, he has stayed loyal to a film-first identity while still stepping into spotlight sessions like Copenhagen’s summer showdown at CopenHill. The edits that circulate—Innsbruck city laps, Scandi spring projects, and ON3P team pieces—share the same grammar: honest speed, early commitments, clean exits. Younger skiers mirror his timing on presses and the way he “finishes” tricks early enough to ride out without a save. Filmmakers appreciate that his choices are legible; there’s no need to hide scrappy landings behind cuts and speed ramps. That transparency turns style from a vibe into technique you can copy, which is why his segments remain reference material for park kids from Oslo to Oregon.

Beyond clips, the gear story feeds the myth. A promodel with ON3P Skis—the Krypto Pro, derived from the brand’s Jeffrey lineage—codifies what his skiing demands: stable takeoffs, durable edges, and a balanced platform that feels intuitive on rails. Soft-goods alignment with Harlaut Apparel matches the film-forward culture that underpins his career. None of this replaces craft, but it signals a standard: parts should be watchable at 1x speed because the mechanics are sound.

Geography that built the toolkit

Norway supplied the foundation. Growing up near Arendal meant firm snow and compact approaches that punish sloppy edge angles; school years tied to Hovden added structured coaching and repetitions on consistent setups. Moves between Oslo and Austria layered in everything modern freeski demands. Innsbruck’s proximity to quick laps—urban features, neighborhood rails, and lift-served parks—amplified timing under changing light and snow, while long spring blocks at Kläppen refined flow on dense feature layouts. The loop back to Copenhagen’s CopenHill showcased how those habits transfer to atypical terrain: synthetic surface, short in-runs, big crowd, clear picture.

Equipment and partners: practical takeaways

Moberg’s setup mirrors his priorities. With ON3P Skis he rides a park-capable platform with reinforced edges and a mount that keeps presses comfortable without sacrificing stability on takeoff. Pairing that with Harlaut Apparel situates him inside a crew-driven film culture where durability and mobility matter more than logos. For skiers translating this to their own kit, the advice is straightforward: pick a symmetrical or near-symmetrical park ski; tune edges to hold on steel yet soften contact points to avoid surprise bites on swaps; maintain fast bases so cadence doesn’t depend on perfect weather; and choose goggles that preserve contrast in flat light common to urban and evening sessions. Equipment won’t create style, but a predictable platform lets good habits repeat all winter.

Why fans and progressing skiers care

Eirik “Kryptoskier” Moberg matters because he turns difficulty into clarity. His lines look calm because the mechanics are honest: early commitments, held grabs, centered landings, and speed that survives from first feature to last. That combination travels—from Innsbruck parks to Swedish spring sessions to the summer stage at CopenHill—and it’s exactly why his skiing resonates with both editors and judges. For viewers, the payoff is rewatchable segments. For developing riders, it’s a blueprint: protect momentum, finish tricks early, and let the spot decide the move. Do that, and your skiing will read the way Krypto’s does—clean, deliberate, and unforgettable at normal speed.

Profile and significance

Ferdinand “Ferdi” Dahl is a Norwegian freeski original whose blend of contest pedigree and culture-building has made him one of the most influential park and street skiers of his generation. Born in 1998 and raised around Oslo, he broke through on the biggest stages with multiple medals at the X Games—slopestyle bronze in 2019, slopestyle silver in 2021, and slopestyle bronze again in 2023—while stacking nine FIS World Cup podiums and two Olympic appearances, including an eighth place in slopestyle at PyeongChang 2018. Those results alone would secure his status. But Dahl’s impact extends further: he co-founded the rider-led Jib League series that reframed what a freeski “contest” could be, and he channels his design sensibility into the apparel label Capeesh Supply. The result is a rare dual footprint—elite competitor and thoughtful scene shaper—whose skiing reads clearly at full speed and whose projects elevate the wider culture.

Today, Dahl’s priorities span performance and stewardship. You’ll still see him under stadium lights at Buttermilk in Aspen during X Games week or dropping mid-winter edits from Europe and North America. You’ll also see him building spaces for others to shine, whether that’s hosting a jam-style Jib League stop with fellow founders James “Woodsy” Woods and Øystein Bråten, or releasing small-batch garments that carry Capeesh’s playful, skaterly aesthetic. He skis for Vishnu Freeski and rides with Monster Energy, a sponsor mix that mirrors his commitment to rider-run creativity and broadcast-level execution.

Competitive arc and key venues

Dahl’s contest résumé maps the modern freeski ladder. Early Europa Cup and World Cup starts led to a breakout Olympic debut at the PyeongChang 2018 Games, staged at Korea’s Phoenix Park, where he placed eighth in men’s slopestyle. World Cup consistency followed, culminating in nine podiums and back-to-back seasons ranked among the very best in slopestyle overall. In Aspen, the X Games medals arrived across four winters, validating a trick vocabulary and run composition that judges reward and fans replay.

Venue context explains why his skiing travels so well. Buttermilk rewards multi-feature flow and line design under heavy camera pressure; Phoenix Park’s Olympic stage compresses everything into immaculate takeoffs and unforgiving landings; Austria’s in-city Nordkette Skyline Park demands cadence on dense rail panels; Sweden’s Kläppen serves long spring laps where measured speed and early commitments separate a good run from a great one. As Dahl pivoted some focus toward film and rider-led events, he didn’t abandon competition; he reframed it. Jib League’s jam format—skier voting, style-forward criteria—moved the needle while keeping the difficulty and clarity that defined his World Cup and X Games success.

How they ski: what to watch for

Dahl’s skiing is a case study in readable difficulty. On rails, approaches are squared early, body position stays stacked, and lock-ins look decisive rather than dramatic. Surface swaps resolve cleanly; presses have shape instead of wobble; exits protect momentum into the next setup. On jumps, he favors measured spin speed and deep, functional grabs—safety, tail, or blunt held long enough to stabilize the axis. That early grab timing keeps shoulders quiet and landings centered, so the outrun breathes instead of becoming a last-second save. Directional variety—forward and switch, left and right—shows up without breaking cadence because every choice serves the line.

Two tells help you “read” a Dahl run in real time. First, spacing. He leaves room between moves, so each trick creates setup for the next one rather than stealing from it. Second, grab discipline. The hand finds the ski early and stays there long enough to influence rotation, not just decorate the frame. That’s why even his bigger spins look calm, and why editors can present his clips at normal speed without resorting to slow-motion rescue.

Resilience, filming, and influence

Longevity at the top level requires adaptation. After years of traveling the World Cup and major-event circuit, Dahl broadened his canvas: spring projects in the Alps, on-camera head-to-heads in SLVSH games, and the co-creation of Jib League with Woods and Bråten. The through-line is composure. Whether the setting is a single-hit scaffolding jump, a multi-feature slopestyle course, or a dense rail garden at Nordkette, he protects speed, commits to control inputs early, and finishes tricks with enough time to ride away clean. That reliability earns trust—from judges tallying slopestyle scores, from peers voting in jam formats, and from filmmakers who want clips that hold up after ten replays.

Influence shows up far beyond podium photos. Jib League’s format centers skiers as voters and storytellers, and its stops have become required viewing for anyone who cares how style and difficulty can coexist. Capeesh, meanwhile, exports the same ethos via apparel drops and creative videos—small teams, rider agency, humor intact. Add in years of high-profile clips and a deep library of World Cup runs archived at Olympics.com, and you have a body of work that doubles as instruction: honest speed, early commitments, centered landings.

Geography that built the toolkit

Place is the skeleton of Dahl’s skiing. Oslo’s compact hills and firm winter snow built edge honesty and quick decision-making; repeated laps discipline the feet and hands. The Alps supplied longer radii and faster in-runs, especially at Nordkette, where dense features reward timing and rail economy. Spring blocks at Kläppen layered in rhythm on creative setups and medium-to-large booters, and the annual pilgrimage to Buttermilk honed broadcast composure. On the Olympic stage at Phoenix Park, he proved those habits survive the brightest lights. Stitch those environments together and you get a toolkit that travels: protect momentum, manage spin speed with the grab, and keep the run’s shape intact from first rail to last landing.

Equipment and partners: practical takeaways

Dahl’s current setup mirrors his philosophy. With Vishnu Freeski he rides a park-capable platform with balanced swing weight and reinforced edges that tolerate repeated rail contact without unpredictable flex. Energy and event support from Monster Energy keeps the spotlight on projects that showcase skier agency, while Capeesh Supply lets him translate taste into design. If you’re looking to borrow from his gear decisions, the lesson is category fit over model names: choose a symmetrical or near-symmetrical park ski, mount it so butters and presses feel natural without compromising takeoff stability, keep bases fast so cadence survives cold or salt, and tune edges to hold on steel yet soften contact points to avoid surprise bites on swaps. Equipment won’t replace timing, but the right platform makes good timing repeatable across long filming days and pressure-heavy finals.

Equally practical is how he structures a season. Early repetitions on consistent parks sharpen approach mechanics; jam-style events test composure under variable pace and crowd energy; and marquee weeks at places like Buttermilk demand the full package—rail clarity, directional variety on jumps, and airtight landings. That rhythm is a template ambitious riders can copy on the path from local edits to international relevance.

Why fans and progressing skiers care

Ferdinand Dahl matters because he turns elite difficulty into clarity and then uses his platform to grow the culture around it. He owns multiple X Games medals, deep World Cup credentials, and Olympic finals experience, yet he’s just as committed to rider-run spaces like Jib League and to creative output through Capeesh. The skiing itself is easy to follow at normal speed because the mechanics are honest: early grab commitment, measured spin speed, and landings that preserve momentum for the next move. For viewers, that means segments worth replaying; for developing skiers, it offers a concrete checklist—square the approach, use the grab as a control input, finish the trick early, and let the line breathe. That combination of results, readability, and stewardship is why Ferdi sits at the center of freeski culture today, whether the backdrop is an Olympic venue, a televised course in Colorado, or a rail garden above Innsbruck.

Profile and significance

Trym Sunde Andreassen is a Norwegian freestyle skier from Kongsberg, born in 2000, who established himself early as one of the most stylish riders in the country’s deep freeski talent pool. He first drew international attention at the Lillehammer 2016 Winter Youth Olympic Games, where he won bronze in the boys’ halfpipe and placed fifth in slopestyle, representing Norway with Kongsberg Freestyleklubb and confirming his status as a genuine multi-event threat. While he has not yet converted that junior success into senior World Cup podiums, his blend of halfpipe edge control, slopestyle rail precision and an explicit focus on style over spin-count has made him a respected name among freeski insiders following the Norwegian scene.

Beyond the Youth Olympic medal, Andreassen’s value to the sport lies in the way he bridges competition and culture. He has been part of Norway’s junior national freeski team, started in FIS World Cup big air events and appeared in edits and web videos that show his skiing in a more relaxed, film-oriented environment. For fans and progressing skiers, he represents the powerful middle ground between elite contest skiing and everyday park laps, where technical tricks are executed with clean, readable style rather than pushed to reckless extremes.

Competitive arc and key venues

Andreassen came up through Norway’s strong grassroots competition system, collecting national-level results long before his Youth Olympic medal. As a teenager he won his age class at Norwegian championships and Norgescup events, including younger junior titles and high-profile battles against peers such as Birk Ruud in domestic slopestyle contests. Coverage in Norwegian freeski media highlighted how often podium conversations in younger junior categories came down to “Birk versus Trym,” underscoring just how central he was to his generation.

His breakout on the international stage came at the Winter Youth Olympic Games in Lillehammer, with competition held at Oslo Vinterpark. There he delivered a composed halfpipe run to secure bronze in a field that also featured future World Cup and X Games stars. After Youth Olympics, Andreassen progressed into the FIS system with appearances on the World Cup circuit, including big air starts among Norway’s senior men. Articles from later seasons describe him returning to World Cup competition after a multi-year break, a reminder that his path has included both early success and the challenges of transitioning from junior standout to senior-level consistency.

How they ski: what to watch for

Stylistically, Trym Sunde Andreassen is known for prioritising clean execution and aesthetics over the biggest possible rotation. A detailed event report from a Norgescup slopestyle stop at Oppdal described how he won without throwing double flips, relying instead on a “super-stylish” run that combined technical rails with well-grabbed spins and strong amplitude. He has spoken about wanting tricks to look light, easy and fun, and that philosophy is obvious when you watch him ski: landings are clean, grabs are held, and movements are smooth rather than forced.

On rails, Andreassen brings a competition-ready level of difficulty while still keeping his posture relaxed. Switch-on rail entries, pretzel exits and blind-swap variations appear frequently in his contest and edit clips, but he avoids unnecessary arm flailing or awkward rush between features. On jumps, he often opts for stylish off-axis spins such as bio 900s and switch 720s with tweaked safety or Japan grabs, sized correctly for the jump rather than pushed into sketchy overshoots. For viewers studying his skiing, the takeaway is that line choice, trick selection and composure can be just as decisive as adding another 180 degrees of spin.

Resilience, filming, and influence

Andreassen’s story is also one of resilience. Reports from the Norwegian Ski Federation acknowledge that he has dealt with injuries during critical development seasons, including setbacks that affected national team training blocks. Despite that, he reappeared in World Cup start lists after nearly five years away from that level, an impressive return given the pace at which modern slopestyle and big air have progressed. Staying relevant in a country that constantly produces new stars—from juniors to Olympic gold medallists—requires both physical and mental persistence.

In parallel with contests, he has contributed to the culture through edits and appearances in Scandinavian projects. Web clips from parks in Norway and abroad show him riding with other strong Norwegians, appearing in Scandinavian web series segments and taking part in collaborative videos and park shoots. Locally, his influence is visible when he returns to events like Snowstock in Kongsberg, where he not only competes but also shares tips with younger riders in special sessions. For the local kids, skiing rails with a Youth Olympic medallist from their own club is a powerful, tangible form of inspiration.

Geography that built the toolkit

Growing up in Kongsberg, Andreassen built his foundation at Kongsberg Skisenter, a hill whose parks and freeride terrain have produced several notable Norwegian freeskiers. Shorter lifts and compact parks meant repetition, creativity and the ability to dial in tricks under less-than-perfect conditions, from icy evenings to flat light. These repetitions hardened his edge control, rail precision and comfort with switch landings, traits that translated directly into his competition runs.

As he moved into national team structures, his geographic world expanded. Training camps at larger resorts like Oppdal and Hovden, and indoor sessions at facilities such as SNØ outside Oslo, provided bigger jumps and more complex rail setups. Internationally, competition and training trips have taken him to Central Europe and North America, where he could test himself on World Cup-scale features. Yet his skiing still carries the imprint of Kongsberg: efficient lines, confidence in tight courses and a willingness to trust technical rail runs and style rather than chase only the heaviest tricks.

Equipment and partners: practical takeaways

Past season edits list Andreassen as riding with support from O’Neill for outerwear, Völkl for skis and Dalbello for boots. That combination reflects a classic competition-oriented park setup: twin-tip skis designed to balance stability on landings with agility on rails, boots that offer solid support for heavy impacts and off-axis spins, and outerwear designed to handle long, cold sessions in Norwegian parks.

For skiers inspired by his approach, the practical message is not that you need the exact same kit, but that you should aim for a balanced, all-round park setup. Look for skis that feel predictable both on rails and jumps, boots that hold your heel firmly without crushing your feet and clothing that lets you move freely while staying warm in variable weather. Most importantly, Andreassen’s career shows that how you use the gear—hour after hour in your local park—matters more than the logo on the topsheet.

Why fans and progressing skiers care

Fans of freeskiing care about Trym Sunde Andreassen because he embodies a particularly Norwegian blend of competitive success and style-driven skiing. A Youth Olympic halfpipe bronze and domestic victories prove he can deliver under pressure, while his Oppdal win “without a single double flip” remains a standout example of judges rewarding clean, stylish runs over pure difficulty arms races. In an era where some contests can feel dominated by increasingly robotic spin counts, his skiing is a reminder that amplitude, composition and aesthetic execution still matter.

For progressing skiers, Andreassen offers a realistic and inspiring model. He shows that you can come from a relatively small hill, build your foundation in local parks, and climb all the way to a Youth Olympic podium and World Cup starts. His focus on style over reckless progression suggests a sustainable path: push your rails and spins, yes, but keep tricks clean, landings solid and lines well thought out. Whether you ride a small local park or dream of international events, following his example means chasing not only bigger tricks, but better skiing.