Biography
Among the earliest Seattle acts to shape the grunge sound, Skin Yard remained one of the least recognized, never escaping the lower tiers of underground visibility. In contrast to most contemporaries, the group never appeared on the Sub Pop roster, and none of its central members achieved widespread fame through subsequent projects. Still, its drummers later joined Soundgarden and the Presidents of the United States of America, while guitarist Jack Endino emerged as the city’s foremost producer and engineer, overseeing sessions for nearly every major Sub Pop act. Endino and bassist Daniel House launched Skin Yard in 1985, just as the grunge period began. Vocalist Ben McMillan and drummer Matt Cameron, who had previously performed with House in Feedback, completed the lineup. The band played its first show in June 1985 and made its recorded debut later that year on the C/Z Records compilation Deep Six, which also introduced Green River, the Melvins, Malfunkshun, and Soundgarden on vinyl.
Early observers often linked Skin Yard to Soundgarden because both groups favored dense, molten, psychedelic textures during their formative stages. Skin Yard’s initial compositions likewise featured intricate arrangements that later shifted toward more direct heaviness. Its self-titled debut, released in early 1986 on C/Z, leaned toward the experimental side, its measured tempos allowing space for expressive vocals and guitar flourishes. Matt Cameron exited shortly afterward and joined Soundgarden two months later. Steve Wied, later of Tad, and Greg Gilmore, later of Mother Love Bone, each filled the drum chair for two performances. By autumn the group stabilized with Jason Finn, who departed after several months to travel in Europe; he subsequently worked with Love Battery, the Fastbacks, and the Presidents of the United States of America.
Scott McCullum, also known as Norman Scott, joined as drummer for the second album, 1988’s Hallowed Ground, issued on Toxic Shock. The ensuing tour proved difficult for all involved; after returning to Seattle the band recorded the heavier Fist Sized Chunks, released on Cruz Records in early 1990. Skin Yard then entered an extended hiatus. Endino’s production and engineering work had begun to accelerate, already encompassing landmark releases by Mudhoney and Nirvana, the latter having played its first Seattle show at Endino’s invitation as an opener for Skin Yard. House had served as sales manager for Sub Pop and had purchased the C/Z label from founders Chris Hanszek and Tina Casale, guiding it into a viable independent operation.
The hiatus stretched beyond a year, during which McCullum left and the members anticipated a permanent breakup. The arrival of Screaming Trees drummer Barrett Martin revived the project; he debuted on 1991’s 1000 Smiling Knuckles, widely regarded as the band’s most cohesive statement. After the album’s completion, Daniel House departed to devote time to his new family and was replaced by Pat Pedersen. Pedersen first appeared on 1992’s Inside the Eye, a somewhat more metallic effort that became Skin Yard’s final release; the group disbanded soon afterward. Both Pedersen and Martin performed on Endino’s solo project Endino’s Earthworm. Ben McMillan later reunited with Scott McCullum in Gruntruck, which attracted notice from metal listeners, and the pair subsequently collaborated again in Mona Diesel. House continued operating C/Z into the new millennium while Endino sustained his production career. In 2001 C/Z released the limited-edition rarities collection Start at the Top.
Early observers often linked Skin Yard to Soundgarden because both groups favored dense, molten, psychedelic textures during their formative stages. Skin Yard’s initial compositions likewise featured intricate arrangements that later shifted toward more direct heaviness. Its self-titled debut, released in early 1986 on C/Z, leaned toward the experimental side, its measured tempos allowing space for expressive vocals and guitar flourishes. Matt Cameron exited shortly afterward and joined Soundgarden two months later. Steve Wied, later of Tad, and Greg Gilmore, later of Mother Love Bone, each filled the drum chair for two performances. By autumn the group stabilized with Jason Finn, who departed after several months to travel in Europe; he subsequently worked with Love Battery, the Fastbacks, and the Presidents of the United States of America.
Scott McCullum, also known as Norman Scott, joined as drummer for the second album, 1988’s Hallowed Ground, issued on Toxic Shock. The ensuing tour proved difficult for all involved; after returning to Seattle the band recorded the heavier Fist Sized Chunks, released on Cruz Records in early 1990. Skin Yard then entered an extended hiatus. Endino’s production and engineering work had begun to accelerate, already encompassing landmark releases by Mudhoney and Nirvana, the latter having played its first Seattle show at Endino’s invitation as an opener for Skin Yard. House had served as sales manager for Sub Pop and had purchased the C/Z label from founders Chris Hanszek and Tina Casale, guiding it into a viable independent operation.
The hiatus stretched beyond a year, during which McCullum left and the members anticipated a permanent breakup. The arrival of Screaming Trees drummer Barrett Martin revived the project; he debuted on 1991’s 1000 Smiling Knuckles, widely regarded as the band’s most cohesive statement. After the album’s completion, Daniel House departed to devote time to his new family and was replaced by Pat Pedersen. Pedersen first appeared on 1992’s Inside the Eye, a somewhat more metallic effort that became Skin Yard’s final release; the group disbanded soon afterward. Both Pedersen and Martin performed on Endino’s solo project Endino’s Earthworm. Ben McMillan later reunited with Scott McCullum in Gruntruck, which attracted notice from metal listeners, and the pair subsequently collaborated again in Mona Diesel. House continued operating C/Z into the new millennium while Endino sustained his production career. In 2001 C/Z released the limited-edition rarities collection Start at the Top.
Albums
