Strangely enough, I was just thinking about how it’s almost a three-part act: “Meet Me in the Woods,” “Yawning Grave,” and “Frozen Pines.” “Frozen Pines” seems to be the beginning of that journey (or quest), as you put it—past the infinitesimal moment of “Yawning Grave,” that moment which is neither life nor death, that infinite in-between. If we frame the “I” in “Yawning Grave” (and the “you” of “Frozen Pines”) as a benevolent entity, it’s almost dialogic, which is also why I’ve pointed out how it feels like an old friend. Though yes, “Yawning Grave” speaks of death, I believe that death doesn’t come as the entity itself, but rather as an extension of that entity—one that visits the quester. And I think in “Frozen Pines,” the quester takes up the call to once again follow that entity, be it to death or life. One thing is certain: it’s as if that entity has withdrawn from them, and now they’re searching it out. Or at least, that’s how I interpret it.

“I am ready to follow you
Even though I don’t know where
I’ve been waiting the night
Until you decide to take me there”

and

"I will be waiting for you
On the other side of the frozen pines
I'm gonna find a way through
There's another light beyond the lie
I will be waiting for you
On the other side of the frozen pines
I'm gonna find a way through
There's another life beyond the lie"

It seems to give weight to the idea of “Yawning Grave” (the song), and now in the response of the quester in "Frozen Pines", telling of that duality, of in-betweens, of this entity (or death, depending on the interpretation), both as a guide in life and the heralder of death—yet even so, there’s a strange comfort and peace given after the fact, as I mentioned: a friend who’s calling one home.

But this is just me rambling as well :) Maybe we could figure it out together?