This third instalment of Collodion Positives finds itself balanced somewhere in the breach black between dark lounge and electric free jazz. Created from a limited, yet effective, set of instrumentation, Andrew Paine and Richard Youngs probe the kind of territory normally found on jazz legend?s box sets as extra discs; the music too out there for general consumption. With Youngs manning his Shakuhachi (Japanese bamboo flute) for much of ?Collodion a.m.? and ?Collodion Highways?, there?s a wandering progressive vibe on Volume 3. With each instrument following their own muse, keyboards and bass moving like separate fingers of the same hand. While these two tracks of surreptitious snaking are terrific examples of the duo?s seemingly never-ending chemistry, it?s the nearly twenty minute long ?Collodion Demonstration? that?s the real deal. A much meatier proposition, the track virtually glistens in a spiky morass that smashes much that passes for free improv over the back of the head. No known for his percussion playing, Youngs lays bristly textures of rolls and tinfoil scuff as the track ascends. Paine?s sharply throttled guitar manages both to rock and resemble a dented mute placed over a horn?s mouth. It?s as if a piece of the pre-fusion 70?s pulling undertow has been brought overground?just. 9/10 -- Scott McKeating (11 March, 2008)