I found this one on Encyclopedia Metallum, very well-written. Pasting it here:
A More Complex Borknagar - 88%
Written by thomash on February 22nd, 2010
Borknagars style has always done a great job of using folk melodies without diluting their black metal. Considering their use of keyboards, avant-garde melodic structures, progressive songwriting, and clean vocal harmonies they remain surprisingly aggressive. Over their career, the aforementioned, unconventional elements of their style have been developed and taken a leading role in their music. Universal continues that trend; this is one of Borknagars tightest, most progressive albums yet. In Borknagars case, musical maturity is definitely a good thing, although it has come at the cost of raw aggression. Aggressive black metal, while occasionally present on Universal, yields pride of place to complex compositions even more than on earlier albums. Their compositions are complex, though, in an engaging way.
Of course, the problem that often presents itself in tight, musically proficient albums is a lack of soul or humanity. Fortunately, this really isnt a problem for Universal. The drums, which are the closest to this problem, still manage to escape the danger of over-triggering despite the modern sound. They could, perhaps, sound a bit thicker but not without competing for space with the unusually thick guitar tone and complex, heavily inflected lead melodies a definite high point for the album. Even the keyboards sound soulful under Lazares skillful direction and Vintersorgs idiosyncratic but charismatic vocals are definite crowd-pleasers.
Theres so much going on melodically and harmonically that the drum sound really needs to be precise in order to cut through the rich textures. Pianos, keyboards, flutes, and violins all make appearances, complementing the guitars tastefully. Unlike many bands that integrate these elements, Borknagar does not underwrite their guitar parts; the guitars could probably carry their songs alone, although not without losing some of what makes these compositions special. There are occasional, virtuosic uses of counterpoint, as is best demonstrated by For a Thousand Years to Come, trading off with driving, headbangable black metal riffing and atmospheric lulls in the action. The band uses these moods with an excellent sense of compositional dynamics to keep the listeners interest.
Of course, the playing itself can sound mechanical if the focus is on sheer technicality. Universal doesnt feel like a Necrophagist record, though. The band hasnt tried to extirpate all evidence that human beings are playing these instruments as tight as the playing is, its very obviously not at mechanical levels of precision which is definitely an advantage of this record. Indeed, the melodies are often designed to be evocative and the musicianship reinforces rather than undermines that. On the other hand, there are plenty of avant-garde, disjointed melodies and dissonant chord shapes as well, but none are jarringly so. Somehow, Borknagar is able to write melodies that seem both intuitive and unorthodox simultaneously.
The vocals are generally given a bit of a back seat although they are certainly active, trading off between black metal rasps and multi-tracked, clean harmonies. The latter is much more memorable, although those new to Borknagar will probably find the intentionally sharp pitch a bit jarring. Its nothing new to Borknagar, though, and there are certainly similarities between the singing on this record and other avant-garde/post-black metal bands, particularly Solefald. Meanwhile, the black metal rasps seem to be relegated to a minor, atmospheric role. Theyre not particularly noteworthy but theres nothing wrong with them.
On the other hand, the use of all the extra instruments is probably the most memorable. Of course, the flutes, pipes, violins, and choir sounds are synthesized by the keyboard but the composition and tone is so convincing you might not know it just by listening to the album. Indeed, theres a noticeable influence from 70s progressive rock and proto-metal such that moments are almost reminiscent of Jethro Tull. The connection is further established by the use of a Hammond organ which often seems to channel Jon Lord. This, of course, can be traced to the influence of Vintersorg on vocals and Lazare of Solefald on keyboards.
But you need to be paying close attention to get the most out of the eclectic influences on Universal. In all likelihood, there are plenty more but the aforementioned ones seem the most noteworthy, if only because theyre a bit more unusual. A superficial listening will reveal a lot of continuity from the early to middle period of Borknagar, particularly Quintessence and Empiricism, since a lot of the same musicians are involved and also because the band is writing in the dark, neoclassical mood that black and post-black metal seems to have a natural affinity for. Consequently, I would predict that a lot of fans alienated by the last two albums will be pleased with this albums return to form musically.
The lyrics definitely keep pace with the music as well. Vintersorg, Oystein Brun, and Lazare all contribute with diverse styles of poetry. Oysteins tends toward an older, romantic European style while Lazare and Vintersorg are a bit more post-modernist. Of course, the dominant lyrical theme is Nature, revered with a capital N. The lyrics alternate between Oysteins paeans to the majesty and invincibility of Nature and Lazares and Vintersorgs post-modernist lament of lost ecological balance. Their resolution seems to come in My Domain, where Oystein looks to the distant future to describe Natures inevitable demise as a necessary step toward rebirth.
This concept obviously descends from Norwegian antiquity and it is that ancient atavism that the band looks to as a solution to our current environmental woes. However, up until the last song, Oysteins side of the lyrics seems to dismiss human destruction of the environment as inherently futile; with My Domain, he shows us the wider perspective that guides his lyrics most clearly. The extension of the bands reactionary naturalism on Universal leads to some interesting ideas. For example, a personal favorite appears on Reason, which seems to decry modernist, rationalist thought for robbing Nature of its power to affect us. In summation, the lyrics are generally well-written and present some fascinating philosophical arguments despite a few minor errors that seem to demonstrate that the lyricists first language is not English.
That I wrote this much on this album without (I can assure you) setting out to do so is a testament to the richness contained on Universal. Texturally, conceptually, and technically complex, this album is definitely one of Borknagars finer moments. If there is any flaw on the album it is that the album doesnt seem to have a clear, focused sense of its overarching purpose but rather a vague theme joining the individual pieces together. Since songs are all in such a similar mood, they share general structural similarities and arent completely individuated. Nevertheless, Universal should be considered a minor classic among Norwegian avant-garde metal and is certain to please metalheads interested in that style and/or all of the influences that the band fuses on this album.
.
cleans too, i saw a lot of negative comments about that new way in the compositions from borknagar but..if you guys just stoped in 'true norwegian black metal 666 from hell' things like the first album *btw a beautiful album too haha 
