Best Album of the Month

“Leering, provacative, smart, brazen as hell with a calliope twinkle.”

9 stars out of 10

“There is something weirdly Wim Wenders about Two Ton Boa. They
have a circus-like atmosphere and a drably sad outlook. Leering, provacative,
smart, brazen as hell with a calliope twinkle. Absolutely good, too bad
there’s only five songs.”

June 2000, Vice Magazine, NYC

Alternative Press

“…perfectly suited to the films
of Tim Burton…”

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 Zepplin 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, Alternative
Press

Billboard Magazine’s review of “Comin’ Up from Behind”

Covered by Marcy Playground for the movie soundtrack “Cruel Intentions”

BILLBOARD Magazine

February 20, 1999
New and Noteworthy – Rock Tracks
MARCY PLAYGROUND

Comin’ Up From Behind

(3:40)
PRODUCER: John Wozniak

WRITER: Sherry Fraser

PUBLISHERS: Porcelain Throne/Warner Bros., ASCAP

Virgin 13696 (Promo)

“This is a sinister rock pop song from Marcy Playground, perfectly
suited for use on the soundtrack to “Cruel Intentions,” the
comedic “Dangerous Liaisons” update starring several teen
drama stars. The lyric tells the story of a dangerous, slithery personality
- “She’s got the truth and her tongue for a slingshot”-
and the vocal melody slides from one note to another like a snake, completing
the image. Drawing from the swing craze, a bouncy high hat traipses along
over this track’s rumbling bassline and distorted organ and guitar,
tempering its straight rock tendencies with a bit of kitsch. This song’s
hook sticks like glue, and it should soon be scaling the charts in the
tradition of other recent soundtrack hits.”

The Stranger

“…an anomaly – I can play it
over and over and over and never get sick of it.”

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

“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 frontwoman 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

“…‘takes aim at the big shots’ with poisonous vocals.Wow.”

“…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

5 out of 5 stars

“Das schöne an Kill Rock Stars-Releases ist, dass man nie
weiss, was man bekommt. Kaum ein Label ist stilitisch so wenig festlegbar
und gleichzeitig qualitativ so zuverlässig wie der Indie aus Olympia,
WA, und ich TWO TON BOA sind dafür ein weiteres Beispiel. Dominiert
werden die fünf Songs von der sanften, aber eindringlichen Stimme
von Frontfrau Sherry Fraser, die zudem noch Gitarre, Glockenspiel, Piano,
Orgel und diverse Instrumente mehr beisteuert, unterstützt von Brian
Sparhawk am Bass und Dan Rieser an den Drums – und phew, die Dame, die
da im Marlene Dietrich-Look im Booklet posiert, scheint doch eine ziemliche
Persönlichkeit zu sein.

TWO TON BOA, das ist Musik, die sich in ihrer düsteren Bedächtigkeit
ziemlich von aktuellen Trends absetztl, die mit monotoner, drohender Rhythmik
ziemliche Spannung aufbaut und bisweilen an frühe Nick Cave- und
LOVE AND ROCKETS-Platten erinnert.

Fünf Songs in knapp 30 Minuten – hier nimmt man sich Zeit für
die Musik.”

(Ox Fanzine,
Germany, issue #39)

“…an EP worth the price of ten average full-length CD’s…”

# 1 ranked: Top 10 Albums of 2000

“First up is Two Ton Boa, an EP worth the price of ten average
full-length CDs. Sherry Fraser’s singular style of delivery is equal
parts sensuality, bravado, and strength; she slurs and cajoles her luscious
vowels and consonants amidst a bludeoning, double-bass carnival of sound..This,
my friends, is what you always hoped punk rock would grow up to be.”

Signum, Vol. 5 No. 3, 2000, Tiffany Lee Brown, signumpress.com

“Absolutely brilliant…” Misterridiculus Fanzine

#1 ranked: Top 15 Albums of 2000

“Absolutely brilliant…27 minutes of pure macabre stellar beauty
and anti-social brilliance…Sherry Fraser, the frail power-house woman…possesses
one of the greatest vocal ranges in indie-rock today… The EP is lost
in a haunting, spooky last resort dream sequence: something that comes
to mind is the creepy songs on the B side to Alice Cooper’s Welcome
to My Nightmare…I envision Two Ton Boa playing arenas…one of the best
bands to ever be on Kill Rock Stars…”

James Squeaky, misterridiculous.com

“..an existential wail of a debut EP…”

“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 Carnes 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

“Eearily mesmerizing…”

“Holy shit. Minutes ago, I dropped another record on the ‘table
for listening.’ No sooner had I taken my seat than this amazing
noise came forth from the speakers. Imagine early Siouxie Sioux, Here
to Eternity era Nick Cave, and Unwound pissing in a jar while watching
Blue Velvet. In the ballpark? Sherry Fraser, our heroine, is an empowered
woman with a huge bass guitar, a writhing voice that throttles like a
dragstrip test-run, and some decidedly strong feelings about love. Witness
the first line of the record: “My heart is floating in a seasick
bag of meat.” Together, with two able studio accomplices, she delivers
an amazingly deep, dark northwestern style EP without the aid of one single
(gasp!) guitar….eerily mesmerizing…this debut release by Miss Fraser
is not nearly enough to satisfy my newborn curiosity.”

Cam Dinunzio, Punchline;
Richmond, Va

“…as clamorous as they are haunting…”

“Fraser caresses each composition with vocals that range from
lullaby sweet to piercing (as on the downright frightening Bleeding Heart)
to guttural while drummer Dan Rieser gives this serpent a strong backbone.
Comparisons could be made to P.J. Harvey’s seething lounge act,
but Miss Polly seems somewhat pedestrian when placed in contrast to Two
Ton Boa’s best material.”

June 1, 2000; Stephan Slaybough, Columbus
Alive

“…a female Charles Baudelaire…”

“…like a female Charles Baudelaire, the poet who dipped his
fountain pen into the Inferno and drew demons into literature…she conjures
sex into Hieronymous Bosch-like demon copulation…Fraser harnesses images
of horror to torture the men who deserve it. She thrusts rich cheats into
Hell, and shows us insects clicking their wings in their nostrils. She
doesn’t sighingly sacrifice herself to anguish, as Rasputina or
Dead Can Dance do; she revels in the mud and slings it where it’s
due, musically and enjoyably. As the title implies, this is no creepy,
quiet snake with a flicking tongue. It’s a behemoth, thrashing,
tearing at souls and eating heads.”

Jaime Kiffel, Lollipop
Magazine, #53

“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.”

Tuscon
Weekly 6/15/00

“…Two Ton Boa’s ready to rip your face off if you’re up for it. Brace yourself….”

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.”

READ MORE

Aversion
Magazine – August 2006 – Matt Schild

“…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…”

READ MORE

IRT
Magazine – Winter 2007 – Alyson Mead

“…a visceral, aggressive, volatile album…hard-hitting and almost raw…”

“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 basslines,
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…”

READ MORE

All
Music Guide – Marisa Brown
- 2006

“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…”

READ MORE

Chicago
Reader -
Monica Kendrick – October 27, 2006

“…a nightmarish vision that 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.”

READ MORE

Westword
Magazine -
Tom Murphy – November 2006

“…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.”

READ MORE

The
Portland Mercury – Andrew Tonrey – 2006

“…a dark and grinding drag through Fraser’s psyche…
a thoroughly unique and remarkably original sound… ”

“…The resulting album, Parasiticide, is a dark and grinding
drag through Fraser’s psyche…a thoroughly unique
and remarkably original sound. Lyrically, Fraser matches
TTB’S thunder with topical and imagery-filled wordplay. There’s the power-ballad-like
lament of body image and indictment on cosmetic surgery in “Favorite
Bloody Patient” and on “HERarchy” she blasts at college-town
feminist-fakery…It’s all a very cathartic
listen, as one can be sure it is for Fraser to perform…Rejoice, for
the wonders of modern medicine!”

Suicide
Girls -
November 2006

“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

“…JARBOE & Emily Strange Among TWO TON BOA Fans…”

“’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

“Emily’s New Favorite Band: Two
Ton Boa ”

“…of extraordinary power and sinister beauty….”

Emily
Strange -
2006

Pitchfork Media

“…Parasiticide is moving but also intimidating…”

“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.”

READ MORE

Pitchforkmedia.com -
January 2007

“…a bleak yet beguiling thrill…”

“The new full length, Parasiticide, touches the same creepy,
crypto-goth nerve as beforeólike a toybox of puppets and black plastic
snakes rampaging down the Reeperbahnóthen 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

“Some tracks are so good one must
wonder why Fraser has been keeping these songs from us…”

“…Even with the despair of Fraser’s voice, the listener
is carried through by the groove of the bass guitars….Some tracks are
so good one must wonder why Fraser has been keeping these songs from us
for the past seven years…”

Parasiticide is a solid album, from
the songwriting to the production, and worthy of any music lover’s
collection…”

READ MORE

Eclectic Librarian -
October 2006

“…Fraser’s talent is such, that
instead of sounding despairing, all this depression and angst has been
translated into good creepy fun…”

“…this album’s not exactly awash with sunshine and light;
rather, it’s a tangled morass of bad relationships, drugs, destruction
and death. But Fraser’s talent is such, that instead of sounding
despairing, all this depression and angst has been translated into good
creepy fun…”

READ MORE

Harp
Magazine -
Gillian G. Gaar – October 27, 2006

“…TTB have ignored the limitations of conventional genresand crafted a sound all to themselves… ”

“Dark and ambient, Two Ton Boa’s second release and debut
LP is an emotional if somewhat incoherent voyage through singer, bassist,
and composer Sherry Fraser’s frayed psyche. Her adept and, at times,
theatrical vocals are carried on this album by a building storm of rumbling,
thundering double bass lines, complimented by the instrumental work of
Dan Rieser on percussion, Brian Sparhawk on bass and baritone guitar,
and Scott Seckington on piano and synth. With a sound somewhere between
the Dresden Dolls and Tool, TTB have ignored the limitations of conventional
genres and crafted a sound all to themselves, characterized by dynamic
vocals, moody double bass lines, and a generally ominous ambiance. But
maybe such sinister, disturbed sounds should be expected – after
all, Fraser says, ‘people in the orchestra always make jokes about
the oboe players being neurotic,’ and Fraser is a classically trained
oboe player. It’s a background that seems to have served her well,
as this disc amply demonstrates.”

Spill
Magazine -
2006

“So many bands attempt hard art rock and fail miserably. These folks succeed…”

“Two Ton Boa lead vocalist Sherry Fraser looks and sounds something
like a younger, harder rocking version of Lene Lovich…We can also hear
traces of very early PJ Harvey in this band’s music. But make no mistake
about it…the folks in Two Ton Boa are not trying to retread the horrid
musical styles of the 1980s and 1990s. Instead, these people play intelligent
rock music featuring smart, inventive guitar riffs, unexpected rhythmic
changes…

These recordings are much slicker than
we are accustomed to hearing on the Kill Rock Stars label. The sound
quality rivals most major label releases. But in terms of music, these
songs are credible and rather juicy. So many bands attempt hard art rock
and fail miserably. These folks succeed…mainly because their tunes
are ultimately effective and genuine. Cool tracks include “Cash
Machine,” “HERarchy,” “Bad Seed,” and “Porcelain
Throne.”

Babysue -
November 2006

Noise – October
2006

Flagpole Magazine

“the album reinforces the notion that heavy music can be pretty as well,
as Sherry Fraser’s dark lyrics and the band’s double bass guitars gloomify the low end
somewhere between the Dresden Dolls and Sleater-Kinney.”

Flagpole Magazine – October 2006

Metro Pulse – October
2006

Serenade for the Crow that Fell

“a few spins of this superlative seven-inch should leave you
impressed, inspired and determined to track down Fraser’s other offerings.”

“A few months after birth, infants can supposedly recognize their
mother’s voice in a crowd of people. Such is also the case with Two Ton
Boa — there’s nothing else quite like the grinding bass lines, mutant
jazz-rock, overly depressing subject matter and Sherry Fraser’s wonderfully
imposing voice. Hear it a few times and it’ll immediately rise above
the tired sounds that fester in the seemingly bottomless cauldron of
indie rock ‘n’ roll mediocrity.

Even before you listen to “Serenade
for the Crow That Fell”, you expect something dark and ominous.
The drab olive green and matte black sleeve art, complete with a cartoonish
crow, suggests that something gloomy must reside between the vinyl grooves.
A haunting Fraser immediately creeps and crawls her way over the funereal
marching music, recalling a less caustic Jarboe. Fraser’s powerful pipes
are complemented by a foreboding mixture of gothic keyboards, humming
bass and slinky guitar lines that creep through the riffs.

It’s almost
comical (in a very black sort of way) to catch yourself singing along
to “Your Favorite Bloody Patient”. With a chorus that mimics
the song’s title, it’s not typical sing-along subject matter. A carnival-like
organ opens the track as Fraser sings tunefully over its repeated riff;
additional instruments introduce themselves one by one, eventually creating
a thickly layered swarm of minor-chord infused rock. Fraser tightens
the proverbial screws, effortlessly changing the tone and inflection
of her voice. It’s provocative and sophisticated (you won’t find any
humdrum indie schlock here), but never descends into prog-rock.

Fraser
does an excellent job at exploring newfound musical territory without
compromising on melody. Two Ton Boa is edgy and cocksure; a few spins
of this superlative seven-inch should leave you impressed, inspired and
determined to track down Fraser’s other offerings. See you at the record
store!”

April 1, 2005 – Andrew Magilow, Splendid

Pitchfork Media

Two Ton Boa: “Your Favorite Bloody Patient”

“a female body image crisis anthem up there with Heavens to Betsy’s “My
Red Self” and PJ Harvey’s “Dress”.”

Know what we need? A riot grrrl revival. Fuck all these retro-rawk
Neanderthals with their haircuts and their misogyny stuck up Mick Jagger’s
ass circa 1971. (Louis XIV, my knife is aimed directly at your crotches.)
I want loudmouth bitches in torn babydoll dresses on the cover of Spin
again.

I don’t know if Two Ton Boa’s Sherry Fraser wears torn babydoll dresses,
but she sure sounds like she does. “Your Favorite Bloody Patient” is
a female body image crisis anthem up there with Heavens to Betsy’s “My
Red Self” and PJ Harvey’s “Dress”. Fraser growls about
perfect little girls, princesses and plastic sex doll queens as dizzy
carnival organ spins around chugging bass, building up to a climax of
galloping drums and booming declaration of the song’s title. Too bad
the track is only available on vinyl; thirteen-year-olds should be ripping
up their pink iPod cozies to this. Revolution girl style now!

April 7 2005, Amy Phillips, Pitchfork

SXSW: Kill Rock Stars Showcase

“Hands down, Two Ton Boa was the best of the evening’s events.”

“…A quick walk down Red River led me to Beerland and the Kill
Rock Stars showcase. While there was a short line, the Beerland door
guys were super-cool (as usual) and I found myself inside pretty quickly.
Sherry Fraser’s Two Ton Boa was in fine form; the dual basses and carnival-like
piano sounded great and Fraser proved that she really does have some
incredible pipes. The distorted nursery rhyme-like tracks had a touch
of graveyard goth genius, casting an eerie shroud over the audience.
The only issue was with the microphone occasionally butchering Fraser’s
voice. Hands down, Two Ton Boa was the best of the evening’s events…”

March 2005 – Andrew Magilow, Splendid

Ladyfest: Olympia, WA

“ My jaw was on the floor the entire show.”

“…Next up was the much anticipated by me Two Ton Boa, who were
easily, one of the better of the amazing bands I saw that week. I had
heard a lot about them but at this point, hadn’t even heard or gotten
a clear idea of what they sounded like. Two bass and drums. Sherry is
the singer and has a really haunting, sort of scary voice that she can
use to shriek like no one is looking. Actually, what Two Ton Boa reminds
me most of is like the last three songs on the Alice Cooper “Welcome
to My Nightmare” album. Spooky and dark. My jaw was on the floor
the entire show. I wanted to buy their record, but they didn’t have vinyl
so I walked over to Phantom City only to find out from the nice woman
working there that it was only released on CD. Damn. So, I bought it
on CD – it’s incredible…”

Jan. 7 2001, James Squeaky, MisterRidiculus.com

Two Ton Boa: The Blue Room

“…left us mesmerized and lost at sea like vanquished sailors.”

“…The headliner this evening was Two Ton Boa. This was the
last stop after touring for five weeks with the likes of L7, which gives
you an idea of the music – obscure, confident, and colorful.

Sherry Fraser, lead vocals and bass, whose voice is that of a mythical
siren, left us mesmerized and lost at sea like vanquished sailors. At
the beginning of the set, Sherry was experimenting with the range of
vocal freedom the amplifiers would allow.

It was evident at this point why she was fine-tuning the speakers,
her voice reached high octaves as she soared throughout the set. In place
of a guitar was another bass, which added a distinct crunch to the musical
lineup. While Sherry carried a bass that offered a distinct flavor to
her vocals, Sparhawk’s contrivution was the pulse behind Two Ton Boa.
Rob Allison, though a recent addition, was no stranger to the job, supplying
the heartbeat to this band’s performance. The sound for the evening ranged
from intense, as evidenced by songs such as “Two Ton Boa”,
and ending sorrowfully in the self-annihilating ballad, “Have Mercy”.

The stage presence was infectious, with Sparhawk pouring sweat and
soul into the 40-minute set, while Allison furiously kept beat and laid
waste to several drumsticks.

The Blue Room was packed with fellow Chicoans, all standing center
stage, reciprocating the energy radiating off Two Ton Boa. The songs
played tonight were from the sef-titled five song EP, which is a tease
for the musical palette. Don’t fret, my pets – a full length album is
in utero. These are musicians destined for fame. They took the time out
to sign autographs for the adoring public, while the road to Olympia,
WA beckoned. Enjoy the well-deserved break and don’t forget to cruise
through Chico when you’re big and famous!

July 10, 2000. Sarah Kramer, Synthesis

Kill Rock Stars Showcase #2

“…the most inventive and refreshing performance of the afternoon.”

“With seven strong bands playing over six long hours, the most
important thing established at the Kill Rock Stars Showcase #2 was that
the Olympia-based independant record label has no shortage of talent…..Next
up were Two Ton Boa, an Olympia trio featuring two basses, drums and
the hypnotic, Patti Smith vs. Laurie Anderson vocals of lead singer Sherry
Fraser. Contrasting gritty instrumental sounds with Fraser’s soaring,
taunting voice, TTB performed tunes from their brand new, eponymous EP
and turned in the most inventive and refreshing performance of the afternoon…”

March 22, 2000. Dave Liljengren, The Rocket

The Living Jarboe – October 19, 2006

“Sherry is a star, folks. Consider yourself lucky if you catch
her on this tour…”

“Last night , my very special house guests Two Ton Boa gave a concert. Sherry Fraser is the brainchild behind this endeavor. If I had to describe her powerful multi-range, multi-characters blues based rock tonality voice to the uninitiated, I would say imagine Jefferson Airplane’s Grace Slick era : “White Rabbit” meets PJ Harvey. A very expressive and passionate voice. Right up my alley so to speak and I have to come right out and say that I love it. This line-up features strong musicianship and make note of Chris and his insane playing! Two Ton Boa are on tour right now promoting the new c.d. ” Parasiticide.” Sherry is a star, folks. Consider yourself lucky if you catch her on this tour. ”

Oct. 20, 2006 – Jarboe (ex-Swans), The Living Jarboe