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Power, Pain, Privilege is Specimens fourth album & most personal work to date, it follows up on his collaboration album ‘Intersections’ with Peter Broderick, Benoît Pioulard, Midori Hirano & Emilie Levienaise-Farrouch. Power, Pain, Privilege is a commissioned piece by London’s Southbank Centre and is an abstract sonic exploration of biracial identity, in its historicity as well as through the lens of Ives’ own personal experience of being British-Jamaican. The album is a departure from his largely ambient work and explores haunted and twisted dancehall rhythms, industrial drones, and spoken word pieces that track a course through painful incidents of imposter syndrome, shame, privilege & racism. The album opens with a computerised robotic voice reading excerpts of the 1930s Fletcher Report: 'an Investigation into the Colour Problem in Liverpool and other ports' a report which heavily stigmatises children and mixed heritage families of African and European origin. It could be deemed the official outset in defining Liverpool's ‘half castes’ as a problem and blight to the 'British way of life'. Ives’ states 'this track sets the tone to the album, the cold analytical and dehumanising approach to reports like this, whilst over 80 years old set the standard for viewing biracial families and to have used a Human voice to recite these pieces of text would have been to give it too much life'
The album is accompanied by a film directed by the photographer & director Lucie Rox which was live scored at The Southbank Centre in London and in Paris at 3537.