Chris Forsyth is a lauded guitarist and composer whose work assimilates art-rock textures with vernacular American influences. Long active in underground circles, he has recently reinvented himself as a band leader with The Solar Motel Band and released a string of acclaimed records of widescreen guitar rock under his own name including 2011's Paranoid Cat(Family Vineyard) and 2012's Kenzo Deluxe(Northern Spy) that he deems Cosmic Americana. His most recent release, Solar Motel(Paradise of Bachelors) has been called one of 2013's best releases by the New Yorker, Uncut, Aquarium Drunkard, Frontier Psychiatrist, Pop Matters, and others, provoking ecstatic comparisons to such classic artists as Television, The Grateful Dead, Popul Vuh, Neil Young & Crazy Horse, Richard Thompson, Robert Quine, John Fahey, and Glenn Branca. Forsyth has toured throughout Europe and the U.S., sharing stages with the likes of Steve Gunn, Sic Alps, Endless Boogie, Grouper, Loren Connors, William Tyler, and Rhys Chatham. Prior to his relocation to Philadelphia in 2009, he was a member of Brooklyn-based gothic junk folk expressionists Peeesseye. He’s also collaborated with a diverse range of artists including singer/songwriter Meg Baird (appearing on her 2011 Drag City release Seasons on Earth), Japanese guitarist/boogie master Tetuzi Akiyama, trumpeter Nate Wooley, and choreographers Miguel Gutierrez, RoseAnne Spradlin, and Meg Foley and is a recipient of a 2011 Pew Fellowship in the Arts.
"(Solar Motel) is some kind of masterpiece, a four-part suite of ecstatic, spiritual psychedelia that splits the difference between unabashed classic rock thrills and a spikey avant garde sense of adventure. Try to imagine Television circa 1977 recording a cover of Pharoah Sanders’ “The Creator Has A Master Plan” and you’re halfway there." - Aquarium Drunkard
"9/10. (Solar Motel is) a fierce, exploratory record. Forsyth understands how to elevate mathematical riffing with lyrical flourishes and buried echoes of folk motifs. As a whole, it's brilliant." - Uncut
"Existing somewhere between ambient guitar excess and classic rock boogie, the four-part suite moves with an elegant ferocity. Droning riffs build slowly into full-tilt shred-storms as organs pierce and the rhythm section rumbles. It falls comfortably within rock ‘n’ roll’s most accepted territories, but it pushes at the boundaries, delighting in giving familiar sounds a new purpose. Put simply, it feels like a classic." - Blurt