Fontanelle (album)
| Fontanelle | ||||
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| Studio album by Babes in Toyland | ||||
| Released | August 11, 1992 | |||
| Recorded | 1992 at Pachyderm Recording in Cannon Falls, Minnesota and Sorcerer Sound Recording Studios in New York City, New York, U.S. | |||
| Genre | Alternative rock, grunge, punk rock | |||
| Length | 37:09 | |||
| Label | Reprise | |||
| Producer | Lee Ranaldo, Kat Bjelland | |||
| Babes in Toyland chronology | ||||
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| Singles from Fontanelle | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Allmusic |   |
| Rolling Stone | |
| Entertainment Weekly | A− |
Fontanelle is the second studio album by the American punk rock band Babes in Toyland, released on August 11, 1992 by Reprise Records. It was the band's first release on a major label, and their first recording to feature Maureen Herman on bass.
After extensive touring throughout 1991, the band entered the studio to record their major label follow-up to their debut album, Spanking Machine. Bassist Michelle Leon left the group in December 1991, shortly before the recording of Fontanelle began, due to the death of her boyfriend, Joe Cole. Maureen Herman was recruited as her replacement.
The album was co-produced by frontwoman and guitarist Kat Bjelland with Lee Ranaldo of Sonic Youth heading production. Brian Paulson was also studio engineer and the final product was mixed by Dave Ogilvie. The cover photo — an image of a naked doll held up in front of a mirror — was taken for the album by photographer Cindy Sherman.
The band has explained the album's name as referring to the soft spot on the top of a baby's skull, as well as to a little fountain used by fairies. It is also the name of a magician consulted by Gilles de Rais, the real-life murderer who inspired the fairy tale "Bluebeard".
The process of recording the album is described in the book Babes in Toyland: The Making and Selling of a Rock and Roll Band, by Neal Karlen.
Fontanelle is Babes in Toyland's most critically and commercially successful album, selling 220,000 copies approximately in the United States alone. Reviews of the album were very positive, with Steve Huey from allmusic noting:
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