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. Member Bios: 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 The Stranger: 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
 Stranger, Seattle 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 
in judgment. 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 Flagpole Magazine: “…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 The Rocket: “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 Aversion Magazine: 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 
with Parasiticide… …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 Metal Maniacs: “’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 Pitchfork Media: “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
 pop plastic… …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 
of self-destruction… 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 Tucson Weekly: “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