€32,00
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This record holds a fiery intensity in different forms, from razor-sharp electronics and fractured metallic beats to formless airy periods of quiet grace with undertones of noise. A demonstration of bravery in the face of what is disquieting.
Power, Pain, Privilege is the fourth album by Specimens, the alias of Alex Ives, and his most personal work to date. It follows his collaborative release Intersections, created with Peter Broderick, Benoît Pioulard, Midori Hirano, and Emilie Levienaise-Farrouch.
Commissioned by London’s Southbank Centre, Power, Pain, Privilege is an abstract sonic exploration of biracial identity—both in its historical context and through Ives’ own experience. Departing from his largely ambient work, the album navigates haunted and twisted dancehall rhythms, industrial drones, and spoken word pieces that trace a course through imposter syndrome, shame, privilege, and racism.
The album opens with a computerized voice reading excerpts from the 1930s Fletcher Report: “An Investigation into the Colour Problem in Liverpool and Other Ports,” a document that stigmatized children and mixed-heritage families of African and European origin. It is often considered the official outset in defining Liverpool’s “half castes” as a problem and a blight to the “British way of life.” Ives explains: “This track sets the tone for the album. The cold, analytical, and dehumanizing approach of reports like this—though over 80 years old—set the standard for how biracial families have been viewed. To have used a human voice would have given it too much life.”
The album is accompanied by a film directed by photographer and filmmaker Lucie Rox, which was live-scored at the Southbank Centre in London and later in Paris at 3537.
€32,00
in stock
This record holds a fiery intensity in different forms, from razor-sharp electronics and fractured metallic beats to formless airy periods of quiet grace with undertones of noise. A demonstration of bravery in the face of what is disquieting.
Power, Pain, Privilege is the fourth album by Specimens, the alias of Alex Ives, and his most personal work to date. It follows his collaborative release Intersections, created with Peter Broderick, Benoît Pioulard, Midori Hirano, and Emilie Levienaise-Farrouch.
Commissioned by London’s Southbank Centre, Power, Pain, Privilege is an abstract sonic exploration of biracial identity—both in its historical context and through Ives’ own experience. Departing from his largely ambient work, the album navigates haunted and twisted dancehall rhythms, industrial drones, and spoken word pieces that trace a course through imposter syndrome, shame, privilege, and racism.
The album opens with a computerized voice reading excerpts from the 1930s Fletcher Report: “An Investigation into the Colour Problem in Liverpool and Other Ports,” a document that stigmatized children and mixed-heritage families of African and European origin. It is often considered the official outset in defining Liverpool’s “half castes” as a problem and a blight to the “British way of life.” Ives explains: “This track sets the tone for the album. The cold, analytical, and dehumanizing approach of reports like this—though over 80 years old—set the standard for how biracial families have been viewed. To have used a human voice would have given it too much life.”
The album is accompanied by a film directed by photographer and filmmaker Lucie Rox, which was live-scored at the Southbank Centre in London and later in Paris at 3537.
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