Seattle is overflowing with options.

At last year’s Stranger Genius Awards party, after the awards were presented for Visual Art, Theater, Film, Literature, and Organization, there was music. Bands performed shunted to one corner of the Moore Theatre’s stage and DJs played in the basement bar, while the official Geniuses mingled, mostly in the lobby. These musical artists—acts like brainy indie-pop band Throw Me the Statue, goofy hiphop collagists Mash Hall, and young “chillwave” duo U.S.F., as well as DJ outfits Emerald City Soul Club and Trouble Dicso—weren’t being honored, they were working; they were closer to the evening’s caterers than the year’s Geniuses. Like every other year, music was at the Genius Awards, but it was pushed to the periphery.

And so it’s been with the awards themselves. Last year, Charles Mudede presented the Film Genius Award to Zia Mohajerjasbi (younger brother of Blue Scholars DJ/producer Sabzi), who was honored largely for his music videos. Mudede wrote in that week’s issue: “More than anyone else, his images have captured the new energies of Seattle’s emerging hiphop scene.” Brendan Kiley presented the Organization Genius Award to the Pacific Northwest Ballet, praising the company for staging “a fierce 15-minute solo by Marco Goecke set to C.P.E. Bach and [punk rock band] the Cramps.” Lindy West pointed out that Theater Geniuses the Cody Rivers Show took their name from “a satirical country-music character they used frequently in early performances.”

In years past, winners have included visual artist Wynne Greenwood of experimental video rock band Tracy + the Plastics, and theater-makers Implied Violence, whose work has frequently incorporated local musicians such as the Dead Science alongside recordings by the Wu-Tang Clan.

So where was the Music Genius?

It’s been something we’ve debated at The Stranger for years. The main argument against having a Stranger Genius Award for Music has been that we already give enough attention to music. It’s true that The Stranger devotes more space to music than to any other single arts section in the paper—we’re as much a music paper as a gay paper or a Seattle paper.

And in years past, we’ve given back to the Seattle music scene via the now-defunct Big Shot competition, a battle of the bands driven by reader votes with prizes that included money, gear, recording time, and passage to SXSW. But Big Shot ended years ago and nothing has replaced it.

It’s not like musicians don’t need the money as much as other artists do. Anyone who thinks musicians are all swimming in piles of money, Uncle Scrooge–like, just isn’t paying attention. The music industry is in shambles, its primary means of making money (selling physical recordings of musical performances) gutted by the advent of easy file-sharing technology. (Has visual art suffered so specific an economic meltdown? Has theater?) Even when the music business was at its most robust, not every musician was buying mansions. For every artist making money, many more struggle to make ends meet, and that’s as true for musicians as for artists in any other field. The no-strings-attached $5,000 prize of a Genius Award could buy a band a van and enough gas to tour the United States.

So this year, we’re thrilled to announce the first annual Stranger Genius Award for Music. That’s got a nice ring to it, doesn’t it? But what will genius sound like, exactly?

Well, what’s most promising for the new category is just how much ground it could potentially cover. It could go to outré hiphop act Shabazz Palaces, for his expert and adventurous destabilizations of that genre’s forms and norms. It could go to Throw Me the Statue songwriter Scott Reitherman, for his uncanny way around a wordy, brainy but utterly catchy pop tune. It could go to Decibel Festival founder Sean Horton, for his massively successful efforts to put Seattle on the international map not just as a rock town but as a hotbed of world-class electronic music. It could go to Jherek Bischoff, for his work with the Dead Science and other bands and for his more avant-garde compositional work. It could go to the Portable Shrines collective, for its work in facilitating an underground of new psychedelic happenings in Seattle’s music scene. It could go to THEESatisfaction, for their Star Wars rebel (without a “pause”) rap and R&B. It could go to Foscil and Truckasauras, for the linked crews’ serious electro-acoustic jazz improvisations and their more popular and impish electronic party music. Or to countless others.

And we’re open to suggestions. The first year of the Stranger Genius Awards, we invited the public to send us their ideas about who they thought deserved to be honored with the cash prize and the profile and the party. After all, there is no application process for the Genius Awards—the last thing we want artists to be doing is filling out paperwork—and we wanted to make sure there wasn’t anyone we weren’t thinking of. Sure enough, there was someone we weren’t thinking of—Chris Jeffries, a theater artist and, of course, musician. Readers recommended him, and he totally deserved a Genius Award, so he won one.

So now we put it to you: Who do Stranger readers think should be honored with the first Genius Award for Music? And more importantly, why? Music, as much or more than any other art form, incites incredibly passionate debate. It’s personal. Everybody has an opinion, and everybody has a favorite musician or band they think deserves greater recognition or material success. We want to hear your arguments for who deserves this award and what makes their work great—make your case in the online comments for this story.

Seattle is overflowing with musical genius. The only hard part will be narrowing the nominees down. recommended

139 replies on “What Does Genius Sound Like?”

  1. Sublime Frequencies! We’re lucky to have them, AND Hollow Earth Radio is a positive force in the music scene (playing underrepresented local sounds) and is making the expensive but important move to a public space this August (they could sure us the money).

  2. portable shrines for bringing together the psych/noise/experimental music scene and curating some of the best, creative shows in town. Plus, the damn visuals they create for all the bands are insane!

  3. BEN VERELLEN is my suggestion. He is a member of the innovative rock band HELMS ALEE and the founder of VERELLEN AMPLIFIERS (a locally owned & operated custom amp shop). Through his music & his small business, he continues to push the Seattle music scene into new territory. He has done more than enough to deserve consideration.

  6. No votes for Blake Lewis? It’s your boy, Seattle!

    But seriously, Sean Horton has given this city a world-recognized music festival almost single-handed (almost! I see you dB crew members / volunteers). He transcends the “I like that one song I heard that one time on KEXP” value of many of the other mentioned nominees.

  7. # 22 gave the facts on Bischoff, now it;s time to speak from the heart! I was lucky enough to be present for both his town hall and city hall performances and they were nothing short of spectacular, genius and necessary. This is someone who has pushed not only the scope of music that people listen to, he has done so by pushing himself in territory I never would have expected with the inception of the Dead Science. Come on! That town hall performance for his B-day was the most important musical event I have ever experienced, based upon not only the sheer beauty and balls of it, but also because I felt like I was in the presence of a fucking Genius.
    p.s Can someone please throw Grandy the Statue already? Geez.

  9. This award should go to someone that isn’t just a band or solo artist regardless of how good they are. It should go to someone that changed the music scene through either influence or organizing. On that note, Sean Horton should get it. I worked with Sean closely during DB’s inception. He’s relentless, he has a vision, and he created something very real out of thin air. Plus, he needs the money to keep his creation going because as big as DB is now, it’s still a labor of love.

  11. JAMIE HELLGATE – a true Renaissance woman of music. Currently on the drums in the innovative rock outfit Eighteen Individual Eyes. Guitarist/vocalist and driving force behind the (sadly) defunct H is for Hellgate. She’s the founder of local label Scissor City Sound, which has released albums by the aforementioned bands. To top it off, she designed and built her own music studio. Genius!

  12. I strongly second ERIK BLOOD. He’s all over the best of the music scene including his own works, productions, and sexy dancey moves on stage!

  14. Sean Horton for sure. He’s spent well over a decade promoting events in the Northwest with a passion for putting Seattle on the map of the electronic music community. Getting a nod from the NYT recently, citing Seattle as a prime location for electronic music tourism was another great feat.

  17. David Bazan. Arguably the finest lyricist in Seattle. His new album, “Curse Your Branches” is deep, even if it’s personal.

  18. Reptet! This often over-looked “jazz” band has practically invented a new, as yet un-named genre…fun, accessible, avant-garde jazz. They consist of bass, drums and horns and their horn players play everything from tuba to flute. Their primary composer Samantha Boshnack is brilliant and has been lauded by such folks as Steven Bernstein of the Sex Mob and Wayne Horvitz of Zony Mash. They’ve been touring almost non-stop for the last four years and they do it on their own with no label support or distribution. Plus their costumes are outlandishly stylish.
    http://www.sonicbids.com/reptet

  19. i second the nomination for Amy Denio — she exudes genius. she can pick up any instrument and produce brilliance and beauty. it’s an honor to be in a band with her.

  20. Please consider giving this genius award to someone who contributes to seattle music as both an artist with a voice in a band that is AWESOME, and a music venue owner who cultivates local talent on every level.
    i nominate Andrew Nunez owner of the SeaMonster lounge
    Here’s why… The true musical life blood of a city is the place where the musicians go after their paying gig to hang out with other musicians and really let loose. Last week SoulLive played Neumo’s on wednesday, but monday night Alan Evans was throwin down drums for an open mic jam session at SeaMonster. Tuesday night Skerik (Les Claypool, Garage a Trois) sat in with Mctuff Trio, and Thursday night John Wicks(Cee Lo Green, B.o.B., Bruno) played a show at the Triple Door main stage with Syncopated Taint Septet & Charlie Hunter(who’s also sat in on jams at the seaMOnster), then he rushed over to seaMonster to what else… sit in and jam. Oh yeah, there’s never a cover charge at the seaMOnster and bands still get paid more fairly than any other place in town. When asked what is your favorite spot in seattle during his American Idol run, Blake Lewis said ” the SeaMOnster lounge” where he honed his skills playing open mic. Sea Monster is that place and if you ask any of these musicians why they will tell you it’s because of Andrew. do you know how hard it is to open a bar/restaurant/music venue by yourself and keep it open for 7 years, especially in seattle? No microsoft money, no college degree, just fucking SOUL! and by the way, Andrew’s voice is AMAZING, and his band HAIKU-CHI rocks. He has been performing at the SeaMonster since it opened, anything from killing Prince covers to laying down live funk on many instruments, to hosting open mic, and SHANGHAI PEARLS burlesque show. the band HAIKU-CHI plays to crowds of 350 people on average with no help from THE STRANGER, THE WEEKLY, or KEXP. Their 2nd cd is set to be released JUNE 5 at the TRACTOR TAVERN and they deserve attention as much as any SHABAZZ, ESPRESSO, SATISFACTION, RAD, or insert stranger staff favorite band/dj. if you do any digging on this subject you will only find more reasons to honor this deserving genius who would use the money to keep the seaMONSTER going another couple months at least

  21. Wayne Horovitz and the Seamonster scene are the most legit contenders. These guys are survivors and will be around for a while. Most everyone else mentioned will be in the “Where are they now?” category in a year or two. That’s just reality.

  22. so many great and deserving people… emery carl! karl blau! john ramberg! bill frisell! paul rucker! david terry! astronautalis! amy denio! hollow earth! james bertram! shenandoah davis! i think an alan bishop stamp is long overdue, too.

  23. Now that Chris DeLaurenti is (alas!) no longer a Stranger writer, he’s a contender (or should be), and dammit, I’m nominating him.

  27. I hope the Stranger does this right and gives it to an organization that needs the cash like Hollow Earth Radio.

    Choosing an individual artist or band seems like the wrong way to go.

  28. @131 As someone who runs a cash-strapped arts organization, I actually sorta disagree. Since the NEA stopped doing artist fellowships, and few arts philanthropists are interested in funding what could broadly be termed “pop music” (despite the weirdness of most the people mentioned here), there’s just so few opportunities for working musicians/composers to find support outside of the failed free market. We gotta start taking musicians’ needs more seriously, and make it a part of our philanthropic culture to fund them.

    HER is awesome, of course and absolutely worthy of support.

  29. Someone recommended me, and while I appreciate the recommendation, I would have to go with Jherek Bischoff as well. What he has done in the Seattle music community can’t be overstated.

  30. Ben Verellen!!! Creator and owner of local business Verellen Amplifiers, he puts his heart and soul into making custom tube amplifiers for the world to enjoy. Through his business and band Helms Alee, he contributes so much to the Seattle music scene. This guy works hard and deserves every bit of success that comes his way.

  31. Ben Verellen/Mike Erdman of Verellen Amplifiers i’m sure meet the criteria of music genius! not many artists have the education and craftsmnaship to create amazing music through exceptionally well crafted hand made tube amplifiers and effects. Verellen Amps is a shining example of using genius to create music. Zing!

  33. BEN VERELLEN! Not only what the others mentioned about him… but he’s also one of the nicest people you could ever meet.

  34. Ben Verellen of Verellen amplifiers! If you haven’t seen or heard one of his well constructed and amazing sounding amps then you haven’t been paying attention.

  35. Ben Verellen, owner of Verellen Amplifiers. He is an amazing musician, engineer, and entrepreneur. Also, an incredibly genuine and dedicated guy who will continue to work hard and contribute to music as his passion knows no end.

  36. i remember john ramberg having to wait in the alley behind the central to do the shows there with me, and having to present the owner of the central letters from his mother allowing him to play there…this and the fact he has continued to do music…and that i am just so fucking proud of him and his work…sends my (very biased)vote from finland…love and miss all you seattle folks… gary heffern

  37. there is one guy that connects Shabazz Palaces, Erik Blood, Ali Marcus, Darrius Willrich , The Turn-ons, Norey, Menghis Khan (Jazz award), Kathy Hettle Blues… small list of a much longer list that all have worked with Bubba Jones.

  38. Go Periscope!

    These guys are an unsigned electronica band, much in the vein of Owl City. Finally starting to pick up steam thanks to C89.5 and The End. I know they’ve been on MTV as well. They should be considered.

  39. music award hmmmm….more like music award’S
    1.organization-Hollow Earth Radio
    2. venue-the Josephine
    3. musician- Paul Rucker

    *All three of these have shaped and influenced how this city defines and redefines itself artistically. They all have started from the bottom up.

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