As she releases her new solo album, Play Me, the former Sonic Youth star answers your questions on acting for Kristen Stewart, doing Basquiat’s photocopying, and who really invented punk rock

Did you plan to change rock music for ever? Were you envisaging a decades-long career, or was it all a bit more haphazard? Nepthsolem
When Sonic Youth first started, there had been such a high bar set for music that achieved something that people hadn’t done before, it was difficult to know how to add to that. There was the Velvet Underground, who cast a huge shadow, and then all the no wave bands, and when you’re faced with all that coolness, and you feel like you don’t belong, how do you make something happen? You have to focus on the thrill of making something that is like nothing that existed before. It sounds pretentious to say, “We wanted to do something new”, but that was it, and then you have to see what happens. And that’s still my approach. Honestly, I had no intention of doing solo records – I’d been playing in an improv-based project with Bill Nace, Body/Head, but that was all. And it was this producer in LA, Justin Raisen, he kept bugging me to make a solo record. There was no plan; in the end, again, I was like, let’s see what happens.

Your memoir, Girl in a Band, is one of my favourites. It reads almost like a novel. Have you ever considered writing a novel? timwthornton
I’ve thought about it. I consider myself more as a visual artist who writes, rather than a writer. I won’t say I won’t ever try to write a novel, but writing is always a challenge, just the getting started part, and I’m such a procrastinator. But once I get into it, I really, really enjoy it. It’s the thinking I love. A lot of times I actually don’t know what I think about something until I start writing about it.

Even though he’s partial to hideous noise, free jazz is mostly unknown to the Guardian’s pop critic. A new guidebook from Sonic Youth’s Thurston Moore may change his mind

In the 1980s, Sonic Youth’s Thurston Moore asked his friend, the writer Byron Coley, to furnish him with a selection of jazz tapes to listen to on tour. Moore had experienced New York’s fabled avant-garde jazz loft scene first-hand in the late 1970s but “wasn’t so clued in”, he says. “Perhaps I was too young and too preoccupied by the flurry of activity in punk and no wave.” Now, he was keen to learn more.

The tapes, “of Coltrane, Mingus, Dolphy, Sun Ra, Monk et al”, led him by degrees to free jazz: the style of jazz unmoored from standard rhythms and phrasings, resulting in arguably the most challenging and far-out music one can listen to. “A music both liberated and yet wholly indebted to the learned techniques of its tradition” is how Moore enthusiastically describes it. “In some ways, it’s similar to noise and art rock, where the freedom to experiment with open form comes from a scholarship of the music’s historical lineage … truly a soul music, both political and spiritual.”