LA ÚNICA POSICIÓN ES LA OPOSICIÓN

With a defiant title such as "La Única Posición es la Oposición" (Spanish for "The Only Position is Opposition"), the now quintet from Argentina Honduras Libregrupo takes a crucial step forward in their labor of reconstruction of old-fashioned psychedelia for the new millennium. Patently retro in their approach to sound and writing, Honduras Libregrupo still manages to create a sonic envelope that feels refreshing and powerful. There is a je ne sais quoi in their sonic amalgam that keeps them apart from a lot of other retro-oriented more renowned bands existing in today's prog rock scene. The Canterbury factor has been very relevant for this album's repertoire, a factor that had already been influential on them since their earlier days but that had been left in very marginal position in their first release "Volumen 1". Honduras Libregrupo is still a very jam-friendly band with a particular taste for trippy experimentation, but for this album the band has decided to create considerably more room for structured musical ideas. This is also noticeable in the rhythms section, which is working more confidently on jazzy nuances now and then. The Canterbury influence, on the other hand, is served from the more phased facet of the genre: 68-70 Soft Machine, Matching Mole and pre-"You" Gong (which was more decidedly space-rock with jazz-oriented sensibilities). 'Tomando Conciencia del Baile' fills the album's first 6 ½ minutes del disco, recreating the ancient Gong dynamics with added ounces of "Leg End"-era Henry Cow and 60s garage rock. In this way, this track reappears with a very different vivacity than that of its first version from "Volumen 1". 'Botox' is a more concise number, with an enhanced jazzy vibe: the lead guitar (no sax for this one) sounds like a thesis on Hillage. This piece is so appealing that I wouldn't have minded if it had been a bit longer, but at the end of the day it's OK. 'Canción para Osvaldo Bayer' wonderfully reflects the hybrid of space-rock and Canterbury that the band is so eager to experiment with. The retro ambience is patently related to Matching Mole's first album and Gong's "Camembert Electrique" simultaneously, while some syncopated adornments in the track's rhythmic structure pay homage to "Vol. 2"-Soft Machine. The sax solo delivered at minute 5 is simply amazing, which makes you wish it had been a bit longer. The keyboard and drum ornaments delivered right before the coda bring the listener back to Barrett-era Pink Floyd. With a joyful title such as 'Los Deportes' it is no wonder that we are faced with a very high-spirited track 4. It is actually a very complex piece that bears some room for sheer musical weirdness, but the gleeful mood is predominant. 'Los Deportes' reiterates the Gong thing even more deeply than on any of the preceding tracks, while the free-form portions inherit the mind travels reflected on 60s avant-garde jazz. Highlighted instruments for this one are the sax and the drums, but of course, the whole ensemble shines as a well-oiled unit. Most of the time, keyboardsman Nicolás Kodric delivers heavily krautrockish synth layers. 'Segunda Mitad del Día' gets started with a complex section that is managed in a very similar mood to that of the preceding track: then follows a sung section somewhat influenced by "Rock Bottom"-era Wyatt, before the coda briefly reprises the opening motif with enhanced energy. The album's last 12 ¼ minutes are occupied by 'Monocromático para Flora'. This is where the band seems more focused than ever on retaining the space-rock that had been so abundantly predominant in "Volumen 1". This is a very atmospheric number whose nuclear motif sounds like lost jam from the "Ummagumma"/"More" days, with a greater dynamics in the rhythm section. The psychedelic spasms delivered in the Dadaist section (related to early Amon Düül II) anticipate the coda in a most bizarre manner: a very convincing finale, indeed. "La Única Posición es la Oposición" shows us a more confident Honduras Libregrupo, not redifining its musical dirección but enriching it in order to let it grow as an artistic expression without any sort of compromise. This is masterpiece material to my ears.

4.5 stars.This will be a strong contender for being in my top 5 of 2008. I would highly recommend anyone interested in this band to read the excellent bio here at ProgArchives. After many listens of this album I would describe it as melancholic Avant / Jazz. Wayside Music describes it as a mixture of Rio, Canterbury and Krautrock. It's listed right now on this site as Psychedelic / Space Rock, so you can see there are many labels attached to this excellent release. The best thing is for you to buy it and hear for yourself how amazing this music is.

The only part of this album that I would describe as upbeat is the intro for the first track "Tomando Conciencia Del Baile" which is a fun, bouncey sax led start to the album. It settles with spoken words after 1 1/2 minutes. It kicks back in a minute later but with a different soundscape. Vocals 4 1/2 minutes in as it ends in a melancholic manner. "Botox" is restrained, dark and melancholic. The guitar starts to lead the way before 2 minutes as the bass, keys and drums support. It calms right down after 4 minutes. "Cancion Para Osvaldo Bayer" kicks in before a minute to an uptempo melody. It becomes very psychedelic sounding before 2 minutes. Nice bass lines. Guitar comes in making some noise. Nice. Sax after 3 1/2 minutes. Great sound after 5 minutes as sax comes back in again soloing. A jazzy calm before 6 minutes and then it kicks back in after 7 minutes. Amazing tune.

"Los Deportes" has this jazzy, Canterbury- like soundscape with sax playing over top. It calms right down before 4 minutes. Nice bass in this atmospheric section. Drums and sax come and go as well. Fantastic song. "Segunda Mitad Del Dia" is led by drums, keys and guitar for almost 1 1/2 minutes.Then it stops abruptly as a haunting mood falls on the proceedings. A change 3 minutes in as dissonant piano comes in with drums and bass then vocals. Sax arrives after 5 1/2 minutes as vocals stop. The tempo picks up a minute later. "Monocromatico Para Flora" is the longest song at over 12 minutes. Light drums, organ, bass and guitar are all restrained. Sax before 3 minutes. Guitar is prominant after 4 1/2 minutes as organ and drums continue. It's still restrained though. A total change 7 minutes in as an experimental soundscape takes over with no melody. Bass then a melody returns after 9 1/2 minutes. Incredible sound here as it continues to be experimental as the melody plays through it.

I really think fans of SOFT MACHINE should check this band out. Feeling adventerous? You won't regret it.

With 'La Única Posición Es La Oposición' the band turns away from the psych/krautrock conglomerate documented on their first album 'Volumen 1'. A saxophone enlarges the list of instruments and besides other features this is marking the new orientation towards avant prog with significant canterbury and jazz rock elements. What stays though is the joy of playing and experimentation - a big precondition for producing a successful progressive rock album.

'The Only Position Is the Opposition' - an album title in the tradition of the people's fight against colonialism in Latin and South America? Or meant as a contra to mainstream artists/productions flooding the market? The latter is obvious - this album is not dedicated to everyone's ears. You won't detect catchy melodies or memorable riffs as usual. But diversity, complexity with breaks, turns, slightly dissonant and weird parts. Even though the album's total length correlates to a vinyl production we have a fireworks of impressions here, a piece of work which forces you to explore - not only to consume! Rock In Opposition so to say!

The band has a quite jolly start like playing on a child's birthday - funny! They are entering the canterbury realm with the first track and Matching Mole/Soft Machine are coming into my mind immediately. But soon the mood changes to a hallucinatory interplay followed by a free jazz similar part. This is detached by a Kraftwerk rhythm then backing spacey synths and a repetitve guitar. It goes on in this way for the next songs - the only constant is the change. The varied keyboard work is really impressing, you are confronted with jazz rock jamming backing a psychedelic guitar and other uncommon mixtures.

The closing long trackMonocromático para Flora is the most charming one as for my personal taste. Trippy improvisational - a great blend of jazzy and spacey elements more in the vein of their predecessor album. Although the music of HONDURAS LIBREGRUPO is quite experimental the band avoids to slip away into too much craziness. Well-conceived - this is listenable and enjoyable by all means - recommended.