Two Ton Boa Duets is a collaboration between Scott Seckington (member of piano/duo Sedan and bassist/keyboardist in Two Ton Boa) and Sherry Fraser (vocalist/bassist in Two Ton Boa). The single was self-released as a vinyl 12 inch in 2008, and in 2011, the band released the single in MP3 format.
Trivia Notes: "Time to Say Goodnight" was featured in the SyFy channel show "Being Human" on February 21, 2011, episode 106.
Scott Seckington (piano) is co-founder of drums-piano duo Sedan. Scott also played bass in The Old Haunts (2001-2008). He officially joined Two Ton Boa in 2004, and performs on Two Ton Boa’s first full length album, Parasiticide.
Two Ton Boa is the creation of vocalist Sherry Fraser, who started out penning songs using only her bass and voice, and performed her first shows solo. Slim Moon released the first properly issued collection of Two Ton Boa songs on Kill Rock Stars in 2000. It was lauded by the New York Times and landed at #4 on Anne Power’s “Undeservedly Obscure” albums of the year list. On Kill Rock Stars, from 2000-2006, Two Ton Boa released 2 singles, a self-titled debut EP, and the full-length album "Parasiticide", along with with a music video for the single “Cash Machine”. Two Ton Boa Duets was self-released as a vinyl 12 inch in 2008.
Two Ton Boa has headlined in every nook and cranny of the US, over the years opening shows for both the Dresden Dolls and L7 on national tours. Amanda Palmer, Blonde Redhead’s Kazu Makino, and The Living Jarboe are all avowed fans. Her song “Have Mercy” was featured in the Original Motion Picture Soundtrack “Remember Me”, released in 2010. Her song "Comin' Up From Behind" was the featured soundtrack single for the movie "Cruel Intentions" (covered by Marcy Playground in 1999). The Two Ton Boa Duets song "Time to Say Goodnight" was featured in episode 106 of the SyFy channel show "Being Human", in February 2011.
Miscellaneous Press clippings:
The New York Times: Undeservedly Obscure Album of the Year #4
“The funhouse hasn’t been this much fun in years.”
Two Ton Boa’s debut EP ranks #4 on Ann Power’s New York Times top ten “Undeservedly Obscure”
Albums of the Year.
Ann Powers, The New York Times, December 2000
Vice Magazine : 9 stars out of 10, Best Album of the Month
“There is something weirdly Wim Wenders about Two Ton Boa...Leering, provocative,
smart, brazen as hell with a calliope twinkle. Absolutely good, too bad
there’s only five songs.”
June 2000, Vice Magazine, NYC
Alternative Press: 4 out of 5 stars
“Sharing a childlike fascination with dead things and arcane lore, Two
Ton Boa sound perfectly suited to the films of Tim Burton…Sherry Fraser
combines a love for discarded antique gadgets, an admiration of the grotesque
and a celebratory joy within moments of ominous doom…joining the rock
dark side, Fraser has imbued in this five-song mini-album a mastery of
musical composition, sophisticated instrumentation and a sense of pure
beauty and innocence….hints of junkyard cabaret, Led Zeppelin heft, and
Concrete Blond singer Johnette Napolitano’s exuberant wailing….Every
bit of her enthusiastic gloom offers a glazed timelessness.”
Nov. 9, 2000, David Clifford
4 out of 5 stars
“Two Ton Boa appeal to the part of me that believes in ghosts.
Singer/bassist Sherry Fraser has been blessed with an amazing voice that
can be eerie, sweet, defiant, angry, or funny…This album is an anomaly
- I can play it over and over and over and never get sick of it.
Juan Carlos Rodriquez, the
The Pitch Weekly:
"…approaches the summit
of peaks previously scaled only by the incomparable PJ Harvey.”
“Those who purchased the soundtrack to the MTV-Movie-Awards-dominating
film Cruel Intentions might have been impressed by “Comin’
Up from Behind,” a brilliant contribution…the liner notes reveal
that the tune was actually penned by Two Ton Boa front woman Sherry Fraser.
Her band’s mutant-jazz version, which is immeasurably enhanced by her commanding vocals, appears on its dazzling self-titled release. While
wielding everything from a bass to a glockenspiel, Fraser ranges from
cooing in a manner reminiscent of Portishead’s Beth Gibbons to starkly
asserting herself with intense, intimidating force. When Fraser spits
out the words “But darling, you mistook me for a fool” during
the majestic nine-minute epic “Bleeding Heart,” the listener gets the impression that this is a grievous, and perhaps tragic, error
Co-producers Fraser and Steven Drake offer several interesting twists,
such as the intro to “Bleeding Heart,” which sounds as if it were sampled from a dusty ‘30s record and the glowering industrial
touches on several tracks that replace all traces of vulnerability with menace. Yet as dark as Two Ton Boa can become, the group is capable of
ethereal beauty. Fraser’s voice shines against sparse accompaniment
on “Puppet Charm,” while “Have Mercy,” with its
tight harmonies and intricate added instrumentation from members of the
group’s Olympia, Wash., neighbors The Need, provides a tension-releasing
close to the album with its straightforward indie-pop approach. Fraser
has years of classical training on the oboe, recorder, and French horn
under her belt, and she uses this knowledge to inject unorthodox elements
into her creations, giving them a refreshing sense of depth. Even in the
hands of mediocre artists, the radiance of her compositions remains unclouded.
When passionately performing her own material, Fraser approaches the summit
of peaks previously scaled only by the incomparable PJ Harvey.”
May 18, 2000, The
Pitch Weekly, Andrew Miller
“…punkish diva Sherry Fraser…delivers a sparse, romantically grim style of lounge rock reminiscent of Morphine, Vaudeville and 16 horsepower…shifts from Jesus Lizard-style, bass driven rants to odd ragtime freak-outs while Fraser ‘takes aim at the big shots’ with poisonous vocals. Wow.”
June 6 2000; Flagpole Magazine, Athens, GA
“Olympia may be a music Mecca, but far too many of its musicians have forgotten how to write a proper song. No so with Sherry Fraser. Under the name Two Ton Boa, this classically trained songwriter – along with ex-Fitz of Depression bassist Brian Sparhawk and drummer Dan Rieser -
has crafted an existential wail of a debut EP that is both as frightening and as enticing as the reptile from which she borrowed the name.
Over two churning, muscular bass guitars, Fraser delivers a spine-tingling howl that channels equal parts Siouxsie Sioux and Patti Smith. Lyrically, she delves deep into the gut of drug abuse, domination and sex, emerging covered with the filth that lies dormant in those subjects. The EP takes only a brief moment of respite on the soaring “Have Mercy,” which finds a slightly gentler Fraser lamenting a relationship gone sour over music provided by Radio Sloan and Rachel Carns of the Need.
Two Ton Boa is an exhausting and commanding piece of work. It is impossible
- and impractical – not to be sucked into these grueling tales. Like the remnants of a fatal automobile accident, these songs stand as divine proof of human error: tragic, fragile and beautiful.”
Tizzy Asher, May 2000, the Rocket, Seattle
4 out of 5 stars
“Heavy music is dangerous again, and, surprise, surprise, the threat is coming from one of the least likely places: a long-dormant Pacific Northwest act with an aversion to guitars and all the big-and-meaty machismo.
Sherry Fraser resuscitates Two Ton Boa after keeping it out of the studio for seven years for Parasiticide, her act’s sophomore release. Parasiticide
is more than a return from the brink for Two Ton Boa: It’s a warning
shot across heavy music’s bow, a reminder that hard music isn’t
about massive riffs and blistering distortion and guitar tones. It’s
about poking and prodding the places where bad dreams lurk, anger and shame
call the shots and the word “comfortable” and all its synonyms have been taken
out of the dictionary. Even after repeated listens, it’s unclear whether
Fraser and company come to the table to exorcise demons or create new ones
…Two Ton Boa isn’t for everyone, but heavy music wasn’t meant to
be. It’s time to put down the Platinum-certified alt-metal albums and graduate
to the real deal. Two Ton Boa’s ready to rip your face off if you’re
up for it. Brace yourself.”
Aversion Magazine – August 2006 – Matt Schild
Interboro Rock Tribune – IRT Magazine:
“…Creatively challenging, eminently listenable, and in serious contention for my favorite record of the year…”
“It’s hard to believe that I’d never heard of Sherry Fraser
before I received her new CD in the mail. But her band,
Two Ton Boa, is one of the most original things I’ve heard
since Methuselah was in diapers. Take one part PJ Harvey; add a double-dose of grimy, grinding bass (played by Ms.
Fraser). Add two parts classically trained vocalist (Fraser
again) with a range akin to that of Diamanda Galas, and
pulverize the whole thing with a jackhammer. The result is sometimes terrifying, like the middle-ground space between
waking and sleeping and sometimes hypnotic. Though it’s
sometimes difficult to follow the ‘story’ of what she’s singing
about, it never matters. The music itself evokes spontaneous
images that arise like dreams when you listen closely, especially on tracks like ‘Cash Machine’ and ‘Your Favorite
Bloody Patient’. I am not normally an effusive person,
but I can say with all honesty that this record is creatively
challenging, eminently listenable, and in serious contention
for my favorite record of the year…”
IRT Magazine – Winter 2007 – Alyson Mead
The Portland Mercury: "Call it a Sensual Nightmare"
“Don’t think for a second that prescriptions have lightened Two
Ton Boa’s approach – they’re just as dark, driving, and catchy as ever…
call it a sensual nightmare. Parasiticide, just released on Kill Rock Stars, is the creepy cousin of Rid of Me-era PJ Harvey (thanks in no small part to producer John Congleton, a colleague of Steve Albini). But where Harvey draws blood with her nails and teeth, Fraser’s touting a sledgehammer. And this time, Fraser’s in for the long haul.”
The Portland Mercury – Andrew Tonrey – 2006
Chicago Reader: “CRITIC’S CHOICE."
“Fraser toys with new depths of abjectness a la Karen Finley even as she plays
the wry narrator…she churns up dark, slimy shapes
from the primordial muck…”
Chicago Reader - Monica Kendrick – October 27, 2006
Westword Magazine: "lays to waste any poseurs currently blighting the landscape"
“Like a non-bluesy Johnette Napolitano seething with righteous venom, Sherry Fraser is back with a new album after a seven-year hiatus. Her band, Two Ton Boa, often gets compared to Sleater-Kinney, mainly because they’re both on Kill Rock Stars. And while Fraser and company exhibit a similar type of passionate defiance in their work, that’s where the musical similarities end. Boa actually has more avant-goth undertones; rarely has such anthemic, orchestral music been imbued with such lurid presence and aggression. Fans of the Dresden Dolls will find much to love here. Two Ton’s dire and sometimes disturbing sound conjures the Birthday Party hanging out at the Carnival of Souls. On the group’s latest release, Parasiticide, Fraser’s forceful, brooding vocal style blends with driving, dirty bass lines to create a nightmarish vision that lays to waste any poseurs currently blighting the landscape.”
Westword Magazine - Tom Murphy – November 2006
Seattle Post Intelligencer: “Fraser leaps forth in a menacing burst, and then allows the vocal to lull us back…”
“It’s hard to trust Two Ton Boa — they’ve already broken my heart once.
In 2000, the Olympia-based trio led by songwriter/vocalist/bassist Sherry Fraser, released an explosion of a self-titled debut EP on Kill Rock Stars. “Two Ton Boa” was everything an ailing, pre-Death Cab, post-Nirvana music scene needed: a slithering batch of songs that drew from the canon of PJ Harvey, as well as Olympia stalwarts like Unwound and The Need. Fraser was a cooing, dangerous front woman, lulling you to sleep while she proceeded to bite off your head.
But a year later, the promising Two Ton Boa camp completely vanished…
“Parasiticide” feels like a continuation of the band’s established two-bass-guitar
attack. Fraser leaps forward in a menacing burst, and then allows the vocal to
lull us back into compliance. The dual-bass attack rumbles below, and Fraser spikes the songs with bits of frilly banjolele (an old-timey instrument that
crosses the banjo and the ukulele) and chord organ.
So, like a co-dependent lover, we take Two Ton Boa back. All we can hope is that they don’t walk out again, leaving us stranded and alone.”
Seattle Post Intelligencer – Tizzy Asher – October 2006
“’Sherry is a star, folks’, writes former Swans keyboardist/vocalist
Jarboe of Two Ton Boa leader Sherry Fraser in a message to fans on her
blog site. ’If I had to describe her powerful multi-range, multi-character
blues-based rock tonality vocals to the uninitiated, I would say imagine Jefferson Airplane’s Grace Slick in ‘White Rabbit’-era meets PJ Harvey.
A very expressive and passionate voice’…
…Two Ton Boa has earned praise from the press comparing the Olympia,
WA band’s songs to everything from the Dresden Dolls to PJ Harvey, Bikini
Kill to Jesus Lizard, and the Geraldine Fibbers’ Carla Bozulich to NYC
noise merchants Cop Shoot Cop. This apparent lack of consensus over just
what comprises the bass-driven dark, heavy pop sound of Two Ton Boa’s long-awaited Kill Rock Stars album Parasiticide underscores the group’s
compelling and unique songs…”
Metal Maniacs Magazine – November 2006
“Parasiticide is moving but also intimidating and repulsive…
Fraser’s new record is tough to love but easy to respect, a deal she’s likely proud to offer.”
Pitchforkmedia.com - January 2007
Willamette Week: "A bleak yet beguiling thrill.”
“The new full length, Parasiticide, touches the same creepy,
crypto-goth nerve as before, like a toy box of puppets and black plastic
snakes rampaging down the Reeperbahn, and then covers it with a skin of stretchy
…combines enough two-bassist clout with Sherry Fraser’s
powerful voice to make this odd pairing of Cop Shoot Cop and Concrete
Blonde a bleak yet beguiling thrill.”
Willamette Week – John Graham – 2006
All Music Guide: AMG Album Pick: 4 out of 5 stars.
“Parasiticide, is a visceral, aggressive, volatile album about sex, gender roles, deceit, hypocrisy, and anger, hard-hitting and almost raw. The music is driving and sometimes spastic, but still
very melodic and clean…arrived are the pounding, acerbic bass lines, the sneering vocals, the feeling as if everything is on the brink
Congleton’s brand of fractured indie rock fits
Fraser’s style nicely, highlighting the interesting parts of her
anger and observations…in-your-face, aggressive music, creepy and
dark and very strangely satisfying…”
All Music Guide – Marisa Brown – 2006
“Heavy stuff…a mere shadow of what we should expect from the live show…”
“HEAVY STUFF: The dual-bass and drums combo Two Ton Boa, from perennial indie hotspot Olympia, Washington, is fronted by one Sherry Fraser. Does
that name sound familiar? If so, give yourself three points in Today’s
Useless Pop-Culture Trivia contest. Acoustic rockers Marcy Playground
named a song after her on their debut album of a few years back, and then
went on to cover one of her songs, “Comin’ Up From Behind,” for inclusion on the soundtrack to the movie Cruel Intentions. The song,
in its original TTB version, is one of the highlights of the band‘s
self-titled debut EP, released in February on Kill Rock Stars. A slinky,
sexy Tin Pan Alley-meets-burlesque teaser, the tune is somewhat of an anomaly juxtaposed against the other four, most of which are darker and
further utilize the amazing range of Fraser’s voice. The latter
can appear as an ethereal apparition before swooping into a ferocious
roar. Unlike many of her contemporaries, however, the shrieks never degenerate
into shrill, and the plodding but augmented soundscapes provide ample backing for the Voice. Reportedly, the CD is but a mere shadow of what
we should expect from the live show. Powerful stuff.”
Tucson Weekly 6/15/00