Universal

The sole Borknagar album not to appear on Century Media Records, they kept it in the family by putting this one out through the esteemed Indie Recordings, a label that has long served as both a harbor for veteran Norwegian bands and upcoming progressive acts in the black metal realm and beyond. But don't take this as any sign of mutation or perceived artistic freedom, Universal is does not far from the tree of its predecessors, to the point that I often get it confused with its 'heavy' predecessor Epic, ignoring the acoustic album that fell between them. Well into the Vintersorg era of the band, it doesn't distinguish itself much from albums before it, but just offers another marginal round of refinements and the same level of intricate, competent craftsmanship that had defined them.

Universal does suffer somewhat from redundancy, for as much work as they obviously put into their material, a number of the tracks present here flow into one another and previously released tunes to the point that they can be a little difficult to pick apart. There's still a strong backbone of melodic black metal, but constantly being complemented with acoustic segues, Hammond organs, synths and pianos so that there's rarely a moment of raw riff that isn't accompanied. The 'Viking' sound here is quite prevalent through Brun's chord constructions and that interplay of electrics and acoustics that feels like you're drifting along the winds and waters of some far North idyll, interwoven with the substantial vocal arrangements of Vintersorg and Lars Nedland, between raving rasps and some slick male choirs which help elevate it that much more above the mundane. The proggy keyboards are legion, and Borknagar had long since become one of the bands outside Finland's Amorphis to best incorporate them without coming off as overly atmospheric hacks.

Sprinkle on some bluesy, Pink Floyd-style lead guitars and you've got yourself another rich, detailed album you can adventure through numerous times with plenty of new patterns forming. The new drummer at the time, American David Kinkade added quite a lot to the aural canvas with his beats that effortlessly bounced between intensity and calmer rock grooves and fills, and there were a few moments where Tyr's bass playing also got pretty perky. For me this album really picks up with the trilogy of tracks "For a Thousand Years to Come", "Abrasion Tide" and "Fleshflower" which are the most exciting and interesting of the lot, some excellent vocal lines, jarring proggy guitars and boiling organs and other synthesizer lines frenzying out to kick some life into the occasionally bland tunes that came before them. And for a wonderful surprise you get a guest spot from none other than former (and future) vocalist I.C.S. Vortex on "My Domain" which is a great way to close this out and perhaps offer a little foreshadowing.

The digipak version I own comes with a bonus "Making of" DVD which is pretty typical of such things, and not all that interesting to where it offers me much more value. You get a good glimpse of their process and their wintry environments where the album is being recorded, but I'd have loved more of an intimate thing where someone could pick their brains a little more, maybe see them out about town in the midst of the hole thing. Unless you want to sit there watching guys record their instruments individually for songs that you know far better and like better on the whole, it's kind of a dud and not even shot particularly well, but then again it's not like they HAD to include it, they wanted to kick a little something extra to the audience and so be it. Not a mar upon an album that, while far from their best, still has plenty to recommend about it and for me trumps both Origin and Epic before it.

-autothrall
http://www.fromthedustreturned.com

If a black metal band had toured arenas with the likes of Kansas or Genesis in the 70's, that band would have sounded like Borknagar's Universal. With their huge dramatic sound, catchy choruses, and prominent electric organ, it wouldn't have been too out of place on my dad's 8-track player.

The sound is highly melodic, and has all the infectious drama of those much-loved-and-maligned 70's classic rock bands. Clean vocals take precedence over growls and electric organ over guitar, and there are softer sections to every track. The sound is definitely progressive, but at every turn they clearly put memorable songwriting before showing off. The production is top-notch as well, with every instrument audible at all times.

With the extensive use of keyboards (especially on "Fleshflower") it doesn't fit most people's expectations of a metal band. Every instrument does get a chance to shine, though, including the bass and drums, and they still manage an all-out assault on tracks like "Havoc" and parts of "Worldwide". The clean vocals are a bit nasally (not unlike Mastodon), so not everyone will like them (the inclusion of former vocalist ICS Vortex on closer "My Domain" makes the vocals seem worse by comparison).

I happen to like the vocals as well as the keyboard. The electric organ is a vastly under-used instrument in metal, but it's seeing a surge in popularity with groups like Opeth and Cathedral using it. The only real complaint I have is the most amorphous one possible: Even though nearly all the tracks are great, and the sound is consistent, it doesn't feel like a cohesive album. It's an inexplicable complaint, but there it is. One improvement would have been to make "My Domain" a bonus track instead of "Coalition of the Elements" and "Loci" (the latter makes a much better closer), but this wouldn't completely fix the issue.

The Verdict: Though I'm not familiar with their earlier work, it gave me the distinct impression of an accomplished metal band's foray into more accessible material. Like Soilwork's Sworn To a Great Divide or Metallica's self-titled album, it will be divisive among metal fans, but provide an easy starting point to the band's catalog. I know I'll be exploring their earlier work.

originally written for http://fullmetalattorney.blogspot.com/

For better or worse, I hold this Borknagar entity in a rather high esteem. During my entry into the inky black metal world, they were one of the first bands that got me hooked, and the part of me that always resonated so well with the differing of norms appreciated their envelope-pushing. That kept me enjoying all they’ve done, though over time it was evident that they were starting to lose their focus. There were hints of it on the proggier-than-thou “Empiricism”, but by the time they got to “Epic” things were starting to implode, and it was time to adapt or die.

And with that, we come to “Universal”…

Thankfully, this time around, there aren’t any of the experimental problems that plagued “Epic”, and instead the listener gets a more truncated, blacker, and more accessible Borknagar, the one that was able to expand our minds via simplicity without having to turn their albums into incalculable equations. Yes, experimental and progressive elements are still present, but it doesn’t dog pile you the way it did before, and instead goes hand-in-hand with the more extreme moments, counteracting one another rather cleanly. Oystein Brun’s epic but slightly rehashed guitar riffs are still bone-crushing and melodic, the keyboards are have a more natural feel littered within the Hammond organ abuse that comes off more natural and less forced, the drum work is tight and chaotic with the slower, plodding moments and crushing blast-beats, and the bass is…well, bass on a typical black metal record (there for the sake of being there), and the complete product is still a fine, pagan-hearted listen. When it comes to the front man side of things, though, Vintersorg seems to do his job and do it well…for this particular version of the band. I have to say, in utter honesty and with due respect given, that Mr. V has to be the least charismatic vocalist Borknagar’s had during their duration. He neither possesses the larger-than-life appeal of Garm nor the otherworldly range of I.C.S. Vortex (who does a ripping good job singing on the last track)…rather, he just plies his vocal wares in that at times necessary middle ground that works in decent conjunction with the rest of the music when he’s on and completely oversteps his boundaries when he’s not. However, his grim screams are still some of the best I’d heard in the black metal realm, far better than the Layne Stayley evocation of his clean choirs that mug for the camera more times than is deemed comfortable. But that’s not anything to condemn the album for, as tracks like “Havoc”, “For a Thousand Years to Come”, and “Fleshflower” still get the job done in terms of slight complexity and heaviness one expects the likes of Borknagar to unleash.

At the end of the day, “Universal” is better than the sum of its parts, eclipsing the past few forgettable and lamentable chapters. Will this see the light of day in terms of repeated listens as much as their earlier albums? We’ll have to see, but so far, it seems to be on the right path.

Universal is Borknagar's eighth studio album, and it still holds true to the style that the previous albums were done in (not counting the acoustic "Origin). Those who are new to Borknagar will find that the band is a progressive black metal band using lots of layered harsh and clean vocals, tons of keyboard and flute melodies combined with lots of good guitar riffs and a drumming that doesn't sound amateur or like it was done by a drum machine. Compared to the last few albums the band has done, fans will notice that Universal is a lot more atmospheric than the previous albums, heavily focusing on keyboard use and vocalist, Vintersorg, expansive voice. He sings a lot more than his usual traditional back metal rasp; hopefully fans will find it very appealing.

Musically, Universal does a good job at keeping up the the progressive metal formula. Most of the songs start out with an acoustic guitar or flute introduction before going into a more mid placed black metal vibe with the guitars and drumming, but it isn't as fast or groove laden as something you'd hear from maybe Satyricon or Emperor. The fantastic guitar melodies are handled mostly by Oystein Bruns and Jens Ryland. Oystein and Vintersorg have a musical history together from other projects, so it is good to see the two still able to create wonderful music. The keyboards, handled by Lazare (who seems to do a multitude of the more amospheric instruments on this album), are always present as a shadow of the other instruments; sometimes this can get a little overbearing. If Lazare had maybe added more constant flute throughout the songs instead of just the organ or keyboard wail, Universal might have been a stunning achievement. The drums are also well done on this album by David Kinkade who switches between a black metal pounding to a more jazz laden tap.

There are a few new elements on Universal compared to the others; Bornkagar took the time to have the backing vocals put more emphasis on the atmosphere. Usually the other members of the band aside from Vintersorg provide this, and it works to a great effect. "Reason" is an excellent showcase for this in the sense that the backing vocals create a choir effect that goes well with the keyboard (which sounds really good at the closing of "The Stir of Seasons" for the piano effect). Also notable is the last track, "My Domain," where former Borknagar vocalist ICS Vortex (most know him from his work in Dimmu Borgir) lends his operatic voice to the scene. He still sounds very good; almost as good as Vintersorg and demonstrates how much he has matured since his last album with the band, Quintessence. Considering his departure from Dimmu Borgir, there is a possible bright future he could once again become a part of the band as co-vocalist with Vintersorg; wishful thinking.

Ultimately, if fans of Borknagar liked the album Empiricism and onward, then Universal will find a spot right on the shelf. It's all progressive black metal grandeur with little hint of the detour of acoustic work that the last album, Origin, had, save for the more atmospheric elements with the flutes. It is an expansive album to really get people listerning and thinking because it is so complex at times with all the instruments ringing together. A must have if someone doesn't mind a lot of keyboards being present.

Written for www.brutalism.com

2010 is a year in which several albums I've been anticipating for years have been, or are set to be, released. So far, some have been great; some have been a thorough disappointment. This, for me, is somewhere in between. It's very much a Borknagar record and leads on stylistically from their previous few albums, with an almost exact replication of the production on their last metal album 'Epic'. For those new to the band, they play music perhaps best described as 'post-black metal', progressive and slightly experimental.

The tracks are often long, mostly pushing the six minute mark, made up of heavier sections, interspersed with clean, arpeggiated guitar sections. Riffs are made up of tremolo picking ('black metal' style), power/bar chords, single note folk-ish melodies, with the occasional lead part. Sometimes the progressions can jar a little, and come across as a little contrived. Keyboards often come to the fore in different guises, providing almost constant accompaniment and often becoming the lead instrument. Flutes, hammond organs, pianos, choirs - they're all here! This is Dave Kinkade's first for Borknagar. He's certainly very competent on the kit and his style works well. He perhaps plays a little more straight forward than Asgeir and probably has a little more of an aggressive feel. This album also sees the permanent, and welcome, return of Erik Tiwaz on bass. Little more needs to be said than he's one of the real bass talents in metal currently. He plays an 8-string fretless, literally all over the fretboard, with three of his right fingers keeping up with the fastest tremelo picking. Occasional lead bass parts showcase more emotive, slower playing. Unfortunately some of the bass work is buried by a slightly muddy tone, especially in the heavier sections - you really have to listen closely to pick out what he's doing.

Vocals are split roughly equally between clean and harsher styles. The harsher styles are mainly raspy, black metal fare and sometimes more death metally, bellowing roars - nothing out of the extraordinary. The clean parts are heavily layered, sometimes also backed up by Lars Nedland. I think Vintersorg has a decent voice and a good musical brain, which he applies well, but I don't think he uses his voice to as great effect on, say, Empiricism. He's developed a more nasal tone and pushes to the edge of his range and beyond. On some parts he really doesn't sound comfortable. Because of this, aside from the last track (more on that later), I'd have to say the vocals are a little disappointing.

The now seemingly obligatory Lars Nedland led track (which he writes and performs the lead vocals) on this album is 'Fleshflower'. I really don't understand the need for these. I don't really like any of them on the previous albums. They don't work with the other tracks and really they belong on a Solefald album. Don't get me wrong, I like Solefald, but I don't think it works in the middle of a Borknagar album.

The last track 'My Domain' is one of the reasons I gave this album a reasonably high score but, conversely, is also why I find it to be a little disappointing. The vocals on this track are performed by Simen Hestnaes (the previous vocalist, and also of Dimmu Borgir fame). I know not everyone likes his vocals, possibly due to the Borgir-connection, but I personally think he has one of the best voices in metal, and this track I think is one of his best performances. The track pretty much leaves me awe-struck and I can't but wonder how much I'd prefer the band if he hadn't left. For me, Vintersorg was simply no replacement, and to hear them on the same album stands as a stark reminder in my mind.

I find this to be an enjoyable album, with a few disappointing flaws. Mostly well written, performed and well produced. Personally I don't think it's as good as 'Epic' or any of their other albums for that matter, but it may grow on me a little more in time. Because of that, If you're new to the band I wouldn't advise starting with this one. Standout tracks for me are the aforementioned 'My Domain' and 'For a Thousand Years to Come'.

Borknagar’s 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 Borknagar’s tightest, most progressive albums yet. In Borknagar’s 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 isn’t 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 Lazare’s skillful direction and Vintersorg’s idiosyncratic but charismatic vocals are definite crowd-pleasers.

There’s 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 listener’s interest.

Of course, the playing itself can sound mechanical if the focus is on sheer technicality. Universal doesn’t feel like a Necrophagist record, though. The band hasn’t tried to extirpate all evidence that human beings are playing these instruments – as tight as the playing is, it’s 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. It’s 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. They’re not particularly noteworthy but there’s 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, there’s 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 they’re 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 album’s 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. Oystein’s 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 Oystein’s paeans to the majesty and ‘invincibility’ of Nature and Lazare’s and Vintersorg’s post-modernist lament of lost ecological balance. Their resolution seems to come in “My Domain,” where Oystein looks to the distant future to describe Nature’s 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, Oystein’s 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 band’s 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 Borknagar’s finer moments. If there is any flaw on the album it is that the album doesn’t 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 aren’t 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.