I know a number of people who play this way. Some have turned it into a very "one-man-band" style -- very percussive. I think that may have been the initial attraction -- rapid-fire notes and rhythm rolled into one -- and that may be why the assumption of "no sustained notes". But it ain't true. The note sustains about as long as the finger stays on the fingerboard. I almost necessitates some kind of amplification, but the notes can be sustained. My young friend Patrick Woods has composed much material around the technique.

I'd have to say that most of what I've heard, with the exception of Hedges and Reed, I don't much care for. But that's not because of inherent weakness in the technique's potential for good composition. I just happen to not care for most of what the modern players are composing.