Richard WrightBroken ChinaStudio albumRecorded: 1996
Released: 26 November 1996
BandRichard Wright (keyboards, programming)
Anthony Moore (programming)
Tim Renwick (guitar)
Dominic Miller (guitar)
Steven Bolton (guitar)
Pino Palladino (bass)
Manu Katché (drums)
Sian Bell (cello)
Kate St. John (oboe, cor anglais)
Maz Palladino (backing vocals)
Sinead O'Connor (lead vocals on "Reaching for the Rail" and "Breakthrough")
All tracks authored by Richard Wright, except where noted.
Side A1. Breaking Water
(Wright, Anthony Moore) (2:28)
2. Night of a Thousand Furry Toys
(Wright, Moore) (4:22)
3. Hidden Fear
(Wright, Gerry Gordon) (3:28)
4. Runaway
(Moore) (4:00)
Side B1. Unfair Ground (2:21)
2. Satellite (4:06)
3. Woman of Custom
(Moore) (3:44)
4. Interlude (1:16)
Side C1. Black Cloud (3:19)
2. Far From the Harbour Wall
(Wright, Moore) (6:19)
3. Drowning (1:38)
4. Reaching for the Rail
(Wright, Moore) (6:30)
Side D1. Blue Room in Venice
(Wright, Gordon) (2:47)
2. Sweet July (4:13)
3. Along the Shoreline
(Wright, Moore) (4:36)
4. Breakthrough
(Wright, Moore) (4:19)
ReviewBroken China is a concept album about Rick's then-wife Mildred's depression. It has a much clearer focus and a much darker atmosphere than either
Wet Dream or
Identity, and is perhaps the best representation of Rick's solo capabilities. Ambience and mood are the focal points here, not melody, and the tracks that do have lyrics seem to use them to enhance the mood rather than as a driving force in themselves.
Even on the CD release, the album is clearly divided into four parts corresponding to the sides on the LP, which is why I've divided the track listing that way. The first part is certainly the darkest, the ambient instrumental bookends being given some more explicit direction from the lyrical material in the midsection. Night of a Thousand Furry Toys is one of the few tracks on the album which approaches conventional pop song structure, while Rick recites Hidden Fear's lyrics more like poetry than music. The delicate balance between ambience, rhythm, melody and lyrics leaves me wanting for nothing more, and is representative of the album as a whole.
Side B is mostly instrumental, save for Woman of Custom, and it speaks volumes for Rick's musicianship that the instrumental tracks say far more than Anthony Moore's lyrics. Unfair Ground and Satellite in particular make a fantastic pair, building up tension after the gloomy conclusion to side A. The short track Interlude finishes the album on a final note of suspense; a marked contrast from the sense of hopelessness imparted by Runaway at the end of Side A.
The recovery begins in Side C, illustrated with the crude but effective imagery of a person drowning. The tracks' titles are sufficient to give a sense of progress, as the protagonist starts out "Far From the Harbour Wall" and ends up "Reaching for the Rail". I enjoyed this part less than the others, primarily due to its increased lyrical focus, which has never been Rick's strong point, even when it's someone else writing the lyrics for him. Reaching for the Rail, sung by both Rick and Sinead O'Connor, ends with a derisive reference to attempts at medication; in this case, the ominous instrumentation reveals the true intent of the words.
The final part brings us to a resolution, starting with a focus on human interaction; a stark contrast from the isolation and medication referred to previously. Sweet July is a particularly masterful instrumental, somehow managing to convey the paradox of simultaneous hope and despair that accompanies depression at times. This leads us into Along the Shoreline, which all but concludes the narrative, reusing the drowning imagery from Side C to finalise the journey to recovery.
The album's final track, "Breakthrough", serves as both an epilogue and an anthem of sorts for depression. As someone who suffers from depression myself, the lyrics to this four-minute song present (at least from my experience) a very direct and profound summary of the difficulties involved, many of which have been explored instrumentally in other parts of the album. Last time I listened to this was many years ago, and this speaks to me now a lot more than it did back then.
This album is both a fantastic musical work and a document of some of the challenges involved in battling depression. If you're into ambient music, you'll probably enjoy this either way, but if you suffer from or have suffered from depression, you're likely to get a whole lot more out of it. I didn't appreciate this album for what it was until I came back to it now, with the experiences of the past few years as context. This is a must-listen.