It's 4.56 AM, the trampling onto an icy ground under the heavystep of boot-covered feet breaks the silence and in the meanwhile the observer pushes off the slush and the smashed ice, he goes a few paces before stopping and staring at the enchanting fixity of a snow-white homogenous scenery in the middle of boundless steep slopes and the almost surreal nocturnal glow of the omnivorous whiteness, emphasized by gentle piano strokes, crystalline guitar plucks and soft plonks. So it begins the fourth and supposedly final act of the tetralogy "Between The Elements", based on an interesting concept, a variation on the typicial and almost cliched seasonal theme, based on tangencies and intersections between natural elements (Pagetos is the Greek word for hoarfrost, the meeting point between earth and water), developed by MB (Maurizio Bianchi), Hue aka Matteo Uggeri and Spyros Abatelios and musically dramatized by talented pianist Francesco Giannico aka Mark Hamn, guitar player Luca Mauri and cello samples by Andrea Serrapiglio this time. It's just gone half an hour, it's 5.34 AM, the temperature is falling and while the rime looks like covering everything, cold gets bitter and bitter so that it pierces the body without any wound by making it blue from cold, teeth are chattering (as suggested by field recordings), the mute melodies of "Calaverna" flows into the solitary contemplation of "Icy Leaves", whereas even the trumpet solo by Uggeri crystallizes while blowing on piano's wavering. It's 7.27 AM and the cold has become so severe than the silent hero of this winter tale takes refuge in a mountain shelter (you could hear noises which look like coming from inside of it), but just after one hour he cannot resist to the inviting symbiosis offered by the natural show surrounding him, so that the track "Cold Air" sounds like the highest peak of such an idyll, but after the entrancing lights of aurora, the light warmth of the morning begins the frost and puts an end to the temporary stand-by of frozen passions and compulsions, which dramatically resurfaces with their burden of frustration and suffering in the final track. I didn't devised a nice way to review this record by an imaginary timeline, but tracklist (and its imaginary plot) evolves on a time span between late night and first hours of morning, emphasizing the synaesthetic appeal of the listening experience.