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Having grown into a well-oiled machine, big-mountain snowboarding seems to be revelling in a period of unprecedented exposure. Then, whether they’re tackling powder, ice or anything in between, they go fast, look for places to jump off things, and put themselves in compromising situations.īig-mountain events may look wild and free, but they’re far from disorganised. Riders typically have a day or two to study the venue and memorise the ideal line, knowing they’ll be scored on line choice, fluidity, air and control (though exact criteria varies from comp to comp). Eschewing the man-made obstacles and freshly groomed pistes of freestyle events, big-mountain freeride contests are held at the apex of some of the world’s most extreme terrain think cliffs, crevasses and bone-breaking rocks. To put it bluntly, big-mountain comps are not exactly a walk in the park. I’m just trying to reconcile my decision to enter this comp, having voluntarily thrown myself to the monster that is big-mountain competitive snowboarding. Competition organisers are wrestling with how to let about a hundred riders cut loose over eighty-inches of fresh snow and not have the whole thing slide. I’m at Snowbird, Utah, in late January, 2010, the site for the first North Face Masters big-mountain stop of the season, and lake-effect snow is funneling buckets of dry powder onto the venue, covering rocks, filling in dry patches, and creating new landing zones everywhere.Īfter a dry start to the season, the twisted irony is that the snow might now be excessive. But will the next generation of pro acrobats venture into the backcountry and away from the park?Īs I squint through the hammering snow to analyse the terrain, the mountain looks as if it is slowly inhaling and puffing up its lungs. An extensive Billabong Bus Tour featuring LINES will be going to major cities and snow resorts in Europe and USA in February-March 07.įor a sneak preview of the teaser, go to mountain snowboarding is thriving in a period of unprecedented support.īig mountain snowboarding is thriving in a period of unprecedented support. The European premiere is to be held at ISPO in Munich. LINES will be released in January 2007 in the USA, at the SIA in Las Vegas and will be submitted for selection at the Sundance Festival in Park City, Utah (USA). LINES is filmed in HD and 16 mm, and also features exclusive archive footage from the early days in Alaska up until today, provided by the most recognized snowboard film companies such as Standard Films and CinemaSeoane. Quinta Films have capitalized on their experience on producing the much-acclaimed TV series to incorporate an artistic and cinematographic twist to the snowboard action.Īccording to Axel: “LINES will take the spectators through a wide range of emotions, from excitement of watching spectacular footage of knife-ridge helicopter drops, steep descents and huge jumps, to laughter brought by classic situations, but also drama with amazing life stories, accomplishments and lost friends.” “Today, the progression of freestyle snowboarding is coming to a peak and everybody agrees to say that the only possible evolution is to bring technical freestyle into natural terrain, the ultimate form of snowboarding.” LINES shows the evolution of big mountain riding from the late 80’s with the legendary riding of Noah Salasnek, Mike Ranquet or Tom Burt to today’s innovative and technical freestyle brought to the big lines by a new generation of riders (Wolle Nyvelt, Romain De Marchi, Jonaven Moore, Travis Rice) to name a few. “I’ve always wanted to share what I’ve been fortunate to live and experience for the past 15 years, the magnificence of the mountains and surrounding nature, the friendships and stories, the fears and dangers,” he says. LINES, produced by Quinta Films, in collaboration with Absinthe Films and Billabong, is an intimate and in-depth vision of big mountain snowboarding, its heroes and their lifestyle, as seen through the eyes of one of its most illustrious participants, 1999 King of the Hill and Verbier Extreme Champion Axel Pauporté. “Today, big mountain snowboarding is not just a bunch of old guys doing mellow powder turns but young riders bringing freestyle into big lines” – Axel Pauporté. Spanish solo guitarist Borealis hums and whirrs with an enveloping bleakness which recalls Roy Montgomery's Temple V LP, and is possibly the revelation of both discs, for me. David CW Briggs, who's also a member of the sterling, underrated post-hardcore band Cove, progresses from poetic Jansch-like chord patterns to plumes of feedback. Zeuk, a goth-edged project from south Wales, exist outside this scene but bear an aesthetic resemblance 'Pale Gold Sun' features guest vocalist Luci Vernon, who appears to sing the line "spiders sliding from my tongue".īetter Late Than Never… doesn't obviously betray a signature Reverb Worship sound, but for my money, its best moments are the ones which use (a love of) folk music as a springboard to ascension. Neofolk, that most inscrutable and (occasionally) most politically distasteful of the folk subgenres, is represented here by The Hare And The Moon – 'The Rolling Of The Stones' is textbook crystal-voiced, flaxen-haired eeriness – and Germany's Solitude Ravencrow, who are as heroically ludicrous as their name and deeply enjoyable for all their samples of wolf howls and sharpening swords. On the indie side of things, Michael Warren is a so-so bedsit strummer with an oddly Damon Albarn-esque voice the completely mysterious Paradise Dance Hall offer agreeable twangy slowcore. The fiddles, flutes and intense stringed drones with which Heed The Thunder back him up retain varying levels of tradness.Ĭertainly, though, if Reverb Worship weren't fixing jump leads to the folk formula, much of their raison d'etre would be lost. The presence of Mark Stevenson, a folk singer from Herefordshire, on 'The Scythe' is noteworthy, insofar as he's from the actual, unadulterated UK folk scene rather than an indie, psych or gothic appropriation of it. Mercifully, eight minutes of cello-weighted free-psych disassociation from Primordial Undermind – a loosely American project of 25 years standing, currently based in Austria – smokes the cobwebs away. Both cover versions, Howling Larsons' take on Pink Floyd's 'Matilda Mother' is passable, but there's no excuse for Brighton folkies Foxpockets and their twee bludgeoning of 'Psycho Killer'. The decision to begin Better… with its two most disposable moments is somewhat baffling. These things are important, even in a scene where it's easy to release an album by someone in the course of a few email exchanges. None of those feature among the 28 exclusive tracks here I think, without it being explicitly stated, that this comp is for artists who've maintained close ties and/or a friendship with the label. Reverb Worship didn't especially stand out to me at the time, on account of there being oodles of these micro-imprints, but a look at its discography reveals names who've gone on to relatively bigger things: Gnod, Expo 70 and Motion Sickness Of Time Travel for three. (Luke Younger, aka Helm, a one-time CDr acolyte, tartly summed it up recently: "I still have a box full of this crap at my parents' house which I need to deal with.") More power, though, to Linney's unfashionable (perhaps corduroy-patched) elbow, especially as his releases tend to come in attractive, careful packaging – a green card sleeve with woodcut artwork, in this case.īetter Late Than Never…, for what it's worth, induced healthy nostalgia in me – harking back to the part of the last decade when I was buying things unheard from the (great, now defunct) Boa Melody Bar distro and attempting to enter rabbitholes via Voice Of The Seven Woods, Sunburned Hand Of The Man, Josephine Foster and so forth. In this regard, Reverb Worship is doubly anachronistic. Its title refers to Linney's embarrassment at taking two years to complete the project, as if he had been sitting idle during that time rather than releasing about three dozen other things.Īs I say, this sort of ferocious profligacy in underground music has eased off a bit in recent years, thanks partly to the CDr format falling out of fashion. Beginning in late 2007, there have now been almost 300 Reverb Worship releases, (which is what, one every nine days or so?) all but a tiny few on CDr, as is this 150-minute, double-disc compilation. Not just because of the music it releases – deep listening, dark summonings and occasional sparks of pop-eyed cheer at the nexus of folk and the avant garde – but its whole approach. Run by a fellow in Berkshire named Roger Linney, Reverb Worship Records feels a bit like a label out of time. 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Data logging defeats the purpose, in a way. The company is trustworthy, but it’s a VPN. The company states that all data generated by online activity gets deleted from the servers once a session closes. There is, it seems, some logging going on, though. Privacy is a prime reason for using a VPN and, at first glance, the company promises to prevent data logging. It can also be set for automatic activation depending on the specified network, for example, mobile, unsecured, and secured networks. The VPN can be set to deactivate when the phone is in sleep-mode to save battery power. When these apps go online, Hotspot Shield protects them with no intervention required. This makes the Android version way faster to use.Īnother top-notch feature is that it adds selected apps to a safe-list. Others, like the windows version, select the previous server connection. The default option is to search for the fastest local server. Once started, it shows you a map with your location. 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Suddenly, a large bug, presumed to be the Hollow Knight now free of sealing the Infection, limbers toward Hornet causing her to ready her guard. In a cutscene following the Knight destroying the Radiance within Godhome and coating the Godseeker with Void that leaks into Hallownest, Hornet notices vines inside the Temple of the Black Egg shriveling away the Infection. With Hornet unreachable within the Black Egg she’s imprisoned in, there is no other way how to stop the Infection should it ever continue.Īfter the Knight uses the Dream Nail on the Hollow Knight to enter the Dream World and defeat the Radiance, Hornet wakes up from the destroyed Black Egg and looks at the cracked shell of the Knight on the floor. Once the Knight becomes the new Vessel of the Infection, the seal of the Black Egg displays Hornet's face, implying she became a Dreamer. If the Knight chooses not to Dream Nail the Hollow Knight and instead continues attacking it, it throws Hornet aside and continues battling the Knight until its death. She tells the Knight she cannot join them in fighting the Hollow Knight, as its bindings would drain her, but does tell them that she could help if an opportunity presents itself.ĭuring the final battle with the Hollow Knight, Hornet appears during the final phase, in which she restrains the Hollow Knight using her needle to open the wound within its head, allowing the Knight the chance to Dream Nail the Hollow Knight and enter its dream to face the source of the Infection, the Radiance. If the Kingsoul charm has been obtained and converted into the Void Heart and the three Dreamers are killed, Hornet will appear at the entrance to the Temple of the Black Egg. This event does not occur if Hornet was not fought at the Kingdom's Edge first. She shows no aggression to the Knight, knowing her mother's death was necessary to open the Black Egg. Knowing the Knight is now shaded in shadow from the Void, she tells them about two options they could do: prolong Hallownest's stasis or face the source of the Infection.Īfter the Knight absorbs Herrah the Beast, Hornet appears next to the bed from which Herrah rested, mourning her mother. After the Knight obtains the brand, the shell collapses on itself, resulting in Hornet rescuing the Knight from the rubble before zipping away.Īfter the Knight obtains the Shade Cloak from the Abyss, Hornet can be seen at the top of the area. Again the Knight defeats her, to which she orders them if they have the will, they should claim the King's Brand. This scene will not play if Hornet was already encountered in Kingdom’s Edge.Īt the far east corner of the Kingdom's Edge, before accessing the Cast-Off Shell, Hornet appears and challenges the Knight in another duel for them to prove to her their worth to claim Hallownest's future for themself. When the Knight reaches the statue of the Hollow Knight, Hornet appears and tells them that if they wish to obtain a role in Hallownest’s perpetuation, they should seek the “grave in ash” and retrieve its mark, referring to the King's Brand within the Cast-Off Shell. Hornet briefly appears in the Fungal Wastes before walking towards the City of Tears entrance. The Knight manages to best Hornet, and she zips away with her thread in retreat. She mentions sensing a presence awakening within Hallownest, and knowing what the nature and the goal of the Knight is, she cannot allow them to go further and engages in battle against them. She is last seen at the end of the zone, in a room observing the corpse of a Vessel, stopping the Knight from getting any closer. The Knight encounters her several times along the path, but she quickly dashes away when they get too close. Hornet makes her first appearance in-game during the Knight’s entrance to Greenpath, just east of the Forgotten Crossroads. Herrah offered allegiance to accept the Pale King’s rule and become a Dreamer in exchange for a child. It is uncertain if Hornet is biologically Herrah’s daughter, although the White Lady mentions that she was a dalliance between the Pale King and Herrah. Hornet is the daughter of Herrah the Beast, one of the three Dreamers who seals the entrance to the Temple of the Black Egg. Her arms are rarely seen under her cloak, but are as black as her legs are. She wears a red cloak that covers her body from the neck to her legs. Hornet has a black body with a white head that has two eye holes and two long horns. |
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