Steve Hackett
Wild Orchids

Premise: the actual rating would be 4.5, and I agree with those who would prefer a rating expressed in tenths, including half points.

Review:
The "old lion" of the guitar roars back, a protagonist of Genesis's golden era, and a solo artist for 30 years now. Every time Steve Hackett is mentioned, the thought almost inevitably goes to the super-classics that continue to make many prog-fans and non-fans dream, forgetting that Hackett has behind him something like 27 solo albums, an endless series of concerts, and a smaller audience compared to the Genesis crowds, but loyal over the years.
In recent years, Hackett has also ventured into true classical works, including the recent "Metamorpheus," supported by an orchestra, the Underworld Orchestra, which we also find in this "Wild Orchids."
And, according to some critics, this latest work stands straddling the more traditionally rock experience and the classical one.
Generally, I agree, although I believe that the repertoire of this album can fundamentally be placed along the lines of the previous "To Watch the Storms," an excellent album from 2003, with some classical references.
Surely it must be noted (once again) the great stylistic variety of Hackett's compositions, facilitated by the active collaboration of the band, which includes his brother John, and to demonstrate this just listen to the surprising "Down Street," a sort of musical puzzle where hard rock slots in, police thriller soundtrack sequences, and music akin to Cirque du Soleil! And, speaking of soundtracks, tell me if the opening "Transylvanian Express" doesn't sound exactly like a score for a dramatic film..
The sources of inspiration, as I said, are many: in "Waters of the Wild" it's India that provides cues, but it's not the usual Buddha-bar mishmash... rather it's a vital and engaging track; again the Orient colors "Cedars of Lebanon," but the interpretation is more personalized.
In "To a Close" the atmosphere is that of a religious song, although the subject is very "earthly," and it should be noted how in this album, Hackett experiments a lot with the voice, often filtered, or in any case electronically “treated.”
Obviously, there is no shortage of references to Genesis: "A Girl Called Linda" has a beginning similar to "A Trick of the Tail" (the song), then gently unfolds into jazzy parts, enhanced by the flute; more genesisian references in "Set the Compass" but here the story is different: first of all, in my opinion, it's the most beautiful track; the atmosphere of "Entangled" is felt, the choirs are ethereal, celestial, the acoustic guitar sounds like a harp....pure enchantment; I also perceived traces of Pink Floyd's "Cirrus Minor"... masterful!
There are also energetic pieces, like "Ego and Id," a good robust hard rock with virtuoso solos, and "A Dark Night in Toytown," where orchestral strings add a baroque touch to the batteria's up-tempo rhythm.
Hackett also tackles a cover: "The Man in the Long Black Coat" by Bob Dylan, on which I won't comment, not knowing the original.
"The Fundamentals of Brainwashing" instead seems an (unintentional?) citation again of Pink Floyd, this time from "High Hopes" (the only decent track from the pitiful "The Division Bell").
I don't give "Wild Orchids" the top rating, because out of 17 tracks, at least in the edition I own, there are some (physiological) drops, but we're really on the brink of the top.

It's strange to see an artist of such stature playing for a minor label, and even with some distribution issues... but as far as I'm concerned, his solo career continues to move in the right direction.
Hats off, Steve!