Rick Moody interviews Chris Forsyth at Salmagundi:
If rock and roll has, in fact, become an invalidated form, a “niche product,” encrusted with its political difficulties, and, perhaps, exhausted as a way of thinking about popular music, one of the chief problems, perhaps, is that it has failed to find new ways to use the guitar. Since the high period of guitar innovation—the period in which we had Sonic Youth and their tunings, James “Blood” Ulmer and his unison strings, and the pieces for a hundred guitars of Rhys Chatham and Glenn Branca—there just hasn’t been as much innovation in the guitar as in the years prior (rare exceptions: left-field employment of guitar synthesizers in, e.g., the work of Robert Fripp, or: the beautiful jazz-flavored modulations of Marc Ribot, or: almost everything played by Nels Cline). So it’s striking and, well, thrilling, when a contemporary player appears, rises up from out of the surface noise, and seems to have his ears fixed mightily on the history of the guitar, and with it the potential for rock and roll to speak anew to an audience. Chris Forsyth is one such contemporary player. His point of origin is (arguably) New York punk of the Dolls, Television, Patti Smith group variety, but he also mixes in a kind of jam-oriented approach that would have been somewhat verboten in the orthodox punk days.