Carl & Parissa
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Carl & Parissa

Byron Bay, New South Wales, Australia | INDIE

Byron Bay, New South Wales, Australia | INDIE
Band Alternative Singer/Songwriter


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"Fred Schmale - Kritiek "Out of Australia""

Het Duitse kwaliteitslabel Stockfisch houdt van verrassingen binnen de folk scene. De recente CD ‘Out of Australia’ van het duo Carl Cleves (van origine een Belg!) en Parissa Bouas (een Australische van Griekse afkomst) hoort bij deze verrassingen. De twaalf liedjes (speelduur bijna 50 minuten) zijn van eigen hand op de tekst van ‘Sharpening a knife’ na – deze tekst is een gedicht van de Japanse dichter Nanao Sakaki, waarmee het duo ooit door Tasmanië toerde. De begeleiding is in voornamelijk Duitse handen, we horen Peter Funk (dobro), Dominic Jung (gitaar), Christian Struck (althobo), Beo Brockhausen (tambura, jew’s harp, swarmandal, mbira, hulusi - jullie begrijpen dat ik deze mooie (merendeels Afrikaanse) instrumentnamen beslist wilde noteren), Lucile Chaubard (cello), Lea Morris (een op vele Stockfisch CD aanwezige zangeres, hier voor de achtergrondvocalen) en de onvolprezen bassist Lars Hansen (prachtig, die duidelijk aanwezige partijen op zijn fretloze bas). De muziek is heel ingetogen, de teksten zijn vaak ongemeen fel – het nummer ‘The Bethlehem bell ringer’ verhaalt over de onschuldige slachtoffers in het Palestijnse conflict: ‘Soldiers move from door to door. Mortar fire, it’s all over war. Army tanks patrol the street, they treat civilians with conceit. Oh Jesus, please, help Palestine. Turn all that blood back into wine. Oh turning wheel, divine design, please bring peace to Palestine’. En dan is er dat instrument, de tambura, die aan dit lied een middenoostensfeer geeft. Prachtig, de muziek blijft hangen, de tekst ook. In andere nummers horen we overigens Afrikaanse en Keltische invloeden.??
Cleves is muzikaal bezig sinds de vroege jaren 80. Samen met Bouas richtte hij de band The Hottentots op in 1991, waarvan vier CD’s verschenen tussen 1994 en 2004. Na 2004 verschenen twee solo-CD’s van Cleves en nu dus deze mooie duet-CD. Met ‘Out of Australia’ heeft u een perfect klinkende verhalende en kritiserende schijf te pakken met bloedmooie muziek en dito zang. Een must voor de liefhebbers van verstilde prachtfolk. ?
(Fred Schmale – Feb 2011
- Feb 2011

"'Out of Australia' - Carl Cleves and Parissa Bouas"

“With this album "Out Of Australia" Carl Cleves and Parissa Bouas prove yet again what strong songwriters and singers they both are…For lovers of an intimate experience, musical story, this album is an absolute must.”

"Carl Cleves & Parissa Bouas – Out Of Australia"

Musical travelogue is distinguished by stunning vocals and unique instrumentation. ****
Audiophile Audition Published on September 24, 2010 Robbie Gerson
Carl Cleves & Parissa Bouas – Out Of Australia – Stockfisch Records Multichannel SACD SFR 357-4060-2, 49:50:??
(Parissa Bouas – vocals, guitar, shruti box, percussion, cachichi; Carl Cleves – vocals, guitar; Lea Morris – backing vocals; Peter Funk – dobro, guitar; Dominik Jung – guitar; Lucile Chaubard – violoncello; Christian Struck – cor anglais; Beo Brockhausen – tambura, jew’s harp, swarmandal, mbira, hulusi; Lars Hansen – fretless bass, electric bass, upright bass.)?
?Flemish born singer/songwriter Carl Cleves and Greek-Australian vocalist Parissa Bouas have captured the hearts of folk enthusiasts in Australia. They are celebrated for their unique acuity for global storytelling, reflected in relevant social and political narratives. Together since 1991, as members of the Cleves-formed band, The Hottentots, the duo continue to perform and record together. In the tradition of authentic folk music, they travel extensively, integrating different cultures and auditory influences into original compositions. Cleves, who holds degrees in Law, African Music and Contemporary Composition, inhabits the aura of an international beat poet. Influenced by a collage of inspirational artists like Bob Marley, Abdullah Ibrahim, Arthur Rimbaud, Townes Van Zandt, and Kurt Weill, passion and conscience become recurrent contexts.?
?Out Of Australia, consisting of twelve original songs, is a ruminating perspective on worldwide society. Coalesced by folk-based guitar constructs and emotional vocals, each track has a unique feel. A centerpiece, “The Bethlehem Bell Ringer” examines the plight of innocent victims in the Palestinian struggle. Parissa Bousa’s incandescent voice is heartfelt, and the hymnal chorus, no less than exultant. The use of a tambura (string drone instrument) adds a somber Middle Eastern tone. The plights of diamond mine workers (“Way Down In The Mines”) in Johannesburg, and ethnic genocide (The Coniston Massacre”), are recounted without overindulgence. Framed by the steady guitar of Cleves, and his idiosyncratic baritone (not unlike Scottish troubadour Donovan), there is a consistent lyrical aesthetic.
Not all of the serious minded themes find a proper elucidation. “Graceful” attempts to juxtapose a breezy tenor and HIV reference, with incongruous results. ??African spirit is rendered with joyous abandon on the folk chant “Mother’s Song”. Backup singer Lea Morris blends with Bouas in perfect harmony. “Sharpening A Knife”, an adaptation of a poem by Nanao Sakaki has a Gaelic cadence, with chorus repetition and a soaring lead vocal. In addition to the milieu of international social mores and politics, there is a sensitive coloration by various Middle Eastern and African instruments.
This nomadic anthology captures the pathos of the human condition with originality and verve. ??Multichannel SACD is an ideal medium for this music. The understated nuances of the various stringed instruments are reproduced with clear acoustics, whether it’s a prominent rhythm guitar, or delicate lute. Tonal quality of the voices is flawless. The depth and texture of the vocals (in particular the ensembles) refine the musical eminence.?
?TrackList: Into The Light; Eclipse Of The Sun; Don’t Flowers Grow; Way Down In The Mines; House Of Sorrow; Mother’s Song; The Coniston Massacre; Graceful; Zeco; Sharpening A Knife; Carmen.??--

- Audiophile Audition Published on September 24, 2010 Robbie Gerson

"The Hottentots -Graceful"

The newest album from Byron Bay’s “The Hottentots”, is one of the most exciting albums that have come my way for some time. (-)

If you’ve seen Carl and Parissa live you will have a good idea what to expect: warmth, generosity, humour and fantastic musicianship. Parissa’s outstanding vocals alternate between a tone that would cut glass, and breathy seduction, while Carl sings with a warmth, honesty and a healthy dose of cheekiness.

The songs, all except one of which have been penned by Carl and Parissa, effortlessly combine musical influences from Brazil, Africa, Europe and even a morsel of Ireland. Covering themes of reconciliation, love, work, equality, and globalisation, the songs combine to make an album that is simultaneously contemporary and timeless. (-)

If you’ve heard their previous recordings and enjoyed the big sounds and complex rhythms, fear not. This time they have gathered a wonderful group of session musicians and the product suggests they have had a fine time in the studio. There are still plenty of swinging big productions but also wonderful contrasting smaller ensemble pieces. Especially stunning is the kora, mbira, and surprisingly, melodica playing of Martin Tucker, who is more commonly heard performing with Zulya Kamalova. Most pleasing is the characteristic shared by many tracks of evolving in entirely unexpected directions, just when the band seems to have settled into a nice solid groove. This results in very satisfying arrangements that continue to reward repeated listenings.

This album represents state of the art in contemporary Australian roots music.

James Rigby – Folk Alliance Australia Magazine 2001

- Folk Alliance Australia Magazine

"Carl Cleves & Parissa Bouas - Out of Australia"

Carl Cleves & Parissa Bouas
"Out of Australia"
Label: Stockfisch; 2010
This is a very nice folk record that has a classic UK style sound, yet is about as international as you can find. The excellent German label has released this record from an Australia-based duo comprised of a Belgian guitarist who has travelled the world with a female singer who was born of a Greek sailor and has toured through Latin America. Not only do they cull all these influences together, they are able to focus this into their sound, rather than issue out a haphazard cultural stew. “Way Down in the Mines” could be snuck onto a compilation with Raven & Mills, Pererin, and the Watersons. The lyrics are strong and the music is constantly involving, with some intriguing bass playing and sounds. This is a gem and moves to the top of my listening pile. If you enjoy classic folk duos and like the psychedelic influences on folk from the seventies, then you are certain to enjoy this.
David Hintz

"THE HOTTENTOTS -Turn back the tide"

The Hottentots are a duo consisting of Carl Cleves, acoustic guitarist/vocalist and Parissa Bouas, lead vocalist/percussionist. They have been recording and performing throughout the world since the early 90’s. Turn Back The Tide is their 4th recording, I believe and a follow-up to the excellent Graceful which was reviewed a couple of years ago when Diaspora was a fishwrapper. I’m not sure if the Hottentots are really world music, whatever that terms means. Not that it matters. They evince a completely personal, quirky folksy sound that is immediately identifiable. It is an Australian sound that generously embraces the sounds and rhythms of the world’s music to create a beguiling yet warmly accessible tapestry. 

The opening track Party At My House is a very good example of their modus operandi, a jumpy little number where swing, pop, folk, African and Latin elements flow in and out without disturbing the good-natured momentum. 11 of the 12 songs are original compositions and they cover a broad expanse of moods, melodies and tempos within the Hottentot parameters…blues, Gaelic, Brazilian, blues, African, reggae whatever…all disarmingly presented in a direct yet multi-layered fashion. As always Parissa proves she is a singer with few equals in this country.

Try to imagine anyone else tackling the Cesaria Evora masterpiece Sodade, the only cover here, and pulling it off in such a beautifully soulful fashion without sounding imitative. One thing I really love about the Hottentots music is its complete lack of pretence and trendiness. And the lyrics address real issues from a personal and political viewpoint… another corporate sin. The contributions from the supporting musicians provide apt commentary in a multitude of contexts be it bluesy harmonica, one drop reggae beat, shimmering violin or Carl’s artful guitar playing, but they’re superbly subordinated to the songs. As a result Turn Back The Tide represents most closely the duo’s infectious sound and is highly recommended.
Richard Jasituowicz in DIASPORA World Beat 2005

- World Beat

"The Hottentots -Turn back the tide"

Review by Debra Manskey- Australian Songwriter Magazine Sept 2004

“I first heard the Hottentots in the mid 90’s, through their award-winning debut album ‘A Small World’. One thing I’ve noticed about them over the years is they seem to be getting better and better. Their latest CD “Turn back the Tide” does nothing but confirm this.
This album touches so many different musical styles that it seriously undersells the music to simply label it as ‘folk’. Essentially, this is acoustic music –exceptionally well written music and lyrics, beautifully arranged and superbly performed by Carl Cleves and Parissa Bouas. They are joined by many fine musicians, such as Rory McLeod, Doug de Vries and Peter Grayling but no track seems cluttered. There is spaciousness that makes for a fine listening.
It’s hard to find favourite tracks on an album of this calibre but “The Bethlehem Bell Ringer” with its heartfelt plea for peace and Parissa’s sublime vocal on “I’ll Be with you Tonight” stand out. For pure energy and fun the opening track “Party at my House” is a must.
Anyone with an interest in good acoustic music with an international flavour won’t be disappointed. I’d also strongly recommend their energetic and passionate live performances for any budding performer.”

- Australian Songwriter Magazine

"The hottentots -The voice of Your heart"

There is a lot of drivel marketed under the ‘world music’ banner, but every once in a while a CD comes along which really does blend global cultures in an exciting original way. Hottentot Party , from Byron Bay in northern NSW, mix up Brazilian, Township and Salsa grooves in an eminently danceable fashion, and obviously have a huge amount of fun in the process. There are shades of the late-lamented Three Mustaphas Three, which is praise indeed. Amongst the polyrhythmic exuberance there is some real sensitivity as well, and lots of great playing and singing. I don’t often play ten minute tracks on my show, but I couldn’t go past the title track.
Highly recommended, and my pick of the Australian releases that came my way in 1997.

Steve Barnes – Folk West, 1998

- Folk West

"The Hottentots - Graceful"

What makes the contemporary music scene so exciting outside the corporate bottom-line (lack of musical) philosophy is that extraordinary freshness can be drawn from diverse genres that on the surface may sound either old-hat or conversely alien to conventional western music-making. The naysayers might contend that true originality might seem to be lost in a great big musical pastiche-fest. Well I beg to differ.

The Hottentots are a duo, Carl Cleves who sings and plays guitar and Parissa Bouas who also sings and plays various percussion instruments. They are based in Byron Bay and make frequent appearances at the various folk festival around the country. If they could be said to have a base style it stems from the Gaelic / Irish axis which connects us all to our history, whether you like it or not. But it doesn’t end there. In fact it’s just the beginning as essential Australianness is put through a variegated multi-cultural blender hat demonstrates how all music can be honestly linked if treated sympathetically.

The opener to their new CD, the aptly titled "Graceful" is a very good indication of the Hottentot’s modus operandi, acoustic guitar and flute that could be Northern Brazil, laidback African beat, Martin Tucker’s kora flourishes that expertly and musically demonstrate the spritiual links between West Africa and Ireland, Andrew Sisters section with downtown bluesy harmonica and Martin Tucker again, this time giving the number a zydeco tang with a melodica. Yet the whole thing sounds strangely Australian without sounding silly.

What makes the Hottentots truly outstanding is that they have fashioned 15 strong melodies (yes, folks that alien concept that distinguishes cogent commentary from empty rhetoric) that generously accommodate calypso, country, Irish folk, Madagascan music as the wonderful instrumental Welcome Home demonstrates, Zimbabwean mbira colours, Latino Afro-Beat, rap or Brazilian forro. In fact I refer the reader to the gypsy / jewish intro to Zefinha, brilliantly emoted by Parissa before turning into a scorch the paint of the wall forro with wailing melodica and compulsive rhythm. The lyrics are something else again dealing with issues of loss, homecoming, mischievous dogs, the oppression of the little man (us) or love in a beguiling, natural manner, be it with Carl’s warm, cheekily rustic tones or Parissa’s superbly dulcet ones. The contributions of the well-chosen accompanying musicians can hardly be underestimated either, whether it’s the sublime insouciance of jazz virtuoso John Hoffman’s flugelhorn on Back in Byron Bay or the Celtic beauty of Cleis Pearce’s violin on the haunting ballad Little Fox. Diverse Graceful may be, but the fact that it is the work of the one entity is never in doubt as the CD closes with Mabo, a sprightly and genuinely exciting reggae number with some scorching brass and sax work from ace Brazilian band Skank.

If there’s any musical justice Graceful will be voted the Australian World Record of the year in any opinion poll you may care to name. Unreservedly recommended.

Richard Jasiutowitcz, Diaspora World Beat magazine #8 Spring 2001

- Diaspora magazine

"The hottentots -A Small World"

Hottentot Party come from the north coast of NSW, one of the most musically fertile areas of Australia outside metropolitan regions, Their poppy, cross-cultural music and vibrant live performances have landed them high on the bills of all the major Australian folk festivals in recent years. A Small World is one of the most accomplished Australian albums from a ‘festival circuit’ band that I’ve come across.
Cleves parallels The Hottentots’ music with the Hottentot people of south-west Africa, whose culture ceased to exist in its own right after invasions of neighbouring tribes, icluding whites from the south, but whose heritage lives on in the many other peoples who now live in the area. He describes his ‘folk music’ as a cross-cultural mosaic coming from Belgian radio stations in the 1960s when he was growing up. He adds that this music doen not come from any particular culture but is the voice of all people of all ages and races. This quality makes it particularly appropriate for such an ethnically diverse country as Australia, and the music is unselfconsciously multi-cultural. Using ska, South African, West African and Brazilian styles, they create a sweet, very danceable sound with bass, drums and keyboards with sax or trumpet behind Cleves’ guitar, through which Bouas’ exuberant and sexy voice moves like a force of nature. The confidence with which they use these styles comes from extensive musical experience in their countries of origin.
The original songs are a diverse bunch often reflecting ‘alternative’ values. The ska-ish Intention is the Point of the Arrow takes off from Zen and the Art of Archery and Sharpening a Knife is a sparse, elegant setting of a contemporary Japanese poem by Nanao Sakaki. The earthier side of life gets a look in the bouncy love song A Long Way. Down that Track and Penkele are about imprisonment in and exile from South Africa, and The Glorious Wind could fit any one of a dozen liberation movements of the twentieth century. Other songs include the festive samba Cravo e Canela by Brazilian composer Milton Nascimento, and Hey Maria, a 1960s samba about the problems of love in an extended family –they rework into a hot batucada.
With such a fine cast of supporting musicians (of which drummer Rick Cole and bass player Maurice Cernigoi are perhaps the most outstanding), the temptation to use them on everything is overwhelming. For my money, they could more often have leavened the strong dance beat –for example, on African Sunset we only get a few bars of the melodic South African acoustic guitar style before the band piles in. But if you want a record to get you moving and keep you there you won’t be disappointed.
Arrangements and production are razor-sharp, and it’s gratifying to see that the album, first released independently in 1994 (when it won a North Coast dolphin Award for Best Album), has been picked up by One World Music and should now be available through your local record shop. Definitely a five-star production.

Simon Kravis –Monaro Musings

- Monaro Musings

"Konzertreview -Carl Cleves & Parissa Bouas"

Einem Konzertreview haftet leider stets die Tragik an, dass es nahezu unmöglich ist, die Faszination zu beschreiben, die einen während und noch lange nach einem Konzert spirituell beseelt. Ich will dennoch den Versuch unternehmen, diesem großartigen Live-Event gerecht zu werden.

Angeregt durch ein paar Videoschnipsel und Songfragmente, die durch Zufall den Weg zu mir fanden, habe ich dem Konzert der Hottentots dennoch mit eher gemischten Gefühlen entgegengesehen. Was soll man von einer Band erwarten, die sich „The Hottentots“ nennt? Australier, die sich nach einem süd-afrikanischen Volksstamm benennen? Für einen Provinzler wie mich ist Polen und Portugal auch die gleich Kante! Egal, ich gehe erstmal hin.

Was sich dann auf der Bühne im Cottbuser Piccolo-Theater ereignete, stellte sich als musikalischer Glücksfall und Höhepunkt des Jahres 2007 heraus. Sollte ich etwas Artverwandtes anführen, dann erin-nert mich Carl Cleves am ehesten an Hermann van Veen. Seine kongeniale Partnerin Parissa Bouas ist stimmlich wie auch im Temperament einer Miriam Makeba sehr ähnlich. Soweit sind erstmal die musika-lischen Koordinaten verortet. Die Blickrichtung der Songs zielt zumeist auf Folk und rhythmische Traditi-onals ab. Reste von gestern?

Nein, ganz und gar nicht. Denn Carl Cleves & Parissa Bouas sind musikalisch nicht stehen geblieben, sondern bieten ein Repertoire mit Überraschungsmomenten en masse. Die ungeheuer modulationsfähi-ge Stimme von Parissa, lassen die Arrangements in einem zusätzlichen Glanz erscheinen. Das über-wiegend aus der Feder von Carl Cleves stammende Songmaterial hat das Potential für die Ewigkeit zu sein. Für seinen Song, „The Bethlehem Bell Ringer“ wurde er zuletzt mit dem australischen Music Award geehrt. Diese Wertschätzung wird nur wenigen zuteil und lässt die künstlerische Potenz dieses Aus-nahmemusikers erahnen.

Behutsam und leichfüßig, trocken, aber stets hochenergetisch, zwischen zarter Poesie und World-Music, fördert dieses Duo unwiderstehliche, kitschfreie Melodien zu Tage, die unter die Haut gehen.

Nach einem Konzert von Carl Cleves & Parissa Bouas fühlt man sich aufs angenehmste „chloroformiert“, jedoch bleiben keine Kopfschmerzen zurück, sondern Sehnsüchte in Töne gegossen. Unnötig zu er-wähnen, dass es sich gleichzeitig um zwei der sympathischsten Erscheinungen seit Adam und Eva han-delt. Große Kunst, besondere Empfehlung!

- Redakteur Melodie & Rhythmus-Gerhard Wenzel

"Rezension zum Konzert von Carl Cleves & Parissa Bouas"

Politische Statements ohne Zeigefinger und mit großer Vitalität?vorgetragen??Am Freitagabend (10. Oktober) gastierte das australische Duo Carl Cleves & Parissa Bouas – in ihrem Heimatland besser bekannt unter dem Namen HOTTENTOTS – während seiner diesjährigen Deutlandtournee im PANORAMA-MUSEUM. Schon der Name ist Programm, denn waren nicht die Hottentotten dieses rebellische südafrikanische Volk, welches von kaiserlich-deutschen Kolonialtruppen ausgelöscht wurde? Meine Großmutter äußerte noch angesichts chaotischer Unordnung: „Bei dir sieht es aus wie bei den Hottentotten…!“ und letztlich meinte auch das deutsche Plattenlabel der beiden Rücksicht auf die im Deutschen negative Bedeutung der Bezeichnung nehmen zu müssen und riet ihnen, in Deutschland besser unter ihren bürgerlichen Namen zu touren.
Carl Cleves und Parissa Bouas haben eine Botschaft und wagen es, Stein des Anstoßes zu sein, mahnen ganz unaufdringlich Menschlichkeit ein (ohne oberlehrerhaftem Zeigefinger) oder rütteln mit poetischen Bildern am Gewissen ihrer Zuhörer. Und neben ihren ausgesprochen schönen Liedern sind es immer wieder die kleinen Geschichten am Rande, die von Parissa oft sehr pointiert vorgetragen wurden, wie: „Du lebst im Irak und Deine Familie hat Ärger mit Saddam. Ihr müsst fliehen, kommt durch viele verschiedene Länder und landet endlich in Indonesien. Um in das gelobte Land der Freiheit, nach Australien zu gelangen, bezahlt Deine Familie eine horrende Summe und dann sitzt Ihr auf dem überfüllten Boot auf dem Meer. Ihr habt Glück gehabt. Euer Boot ist nicht gesunken wie viele andere. Ihr gelangt dorthin, werdet aber gleich nach Eurer Ankunft in ein Gefangenenlager in der Wüste gesteckt. Du bist nur noch eine Nummer ohne Namen, hast zwar Wasser und Essen, bist aber abgeschnitten von der Welt für ein, zwei, drei … für sechs Jahre und Du bist ein Kind!“??Die beiden exzellenten Sänger und Instrumentalisten haben sich ihren menschlichen und ihren musikalischen Horizont durch ausgedehnte Reisen um die Welt wie auch durch mehrjährige Aufenthalte in verschiedenen Ländern der Welt angeeignet und ihre Songs erinnern mal an irische Folklore, weisen dann Elemente südamerikanischer, dann wieder afrikanischer Musik auf. Parissa, Tocher eines griechischen Seemanns und einer Australierin hatte beispielsweise 7 Jahre in Brasilien und Mittelamerika gelebt, während Carl mit seinen belgischen Wurzeln sich mehrere Jahre in Afrika, vor allem in Madagaskar aufhielt. Diese Erlebnisse wurden zu Liedern und hinterließen ihre musikalischen Spuren. Ihre Lieder waren letztlich kein uninspirierter Stilmischmasch, gemacht, um sich bei einem unkritischen, nach Urlaubsparadiesen sehnendem Publikum anzubiedern, sondern vielmehr Weltmusik, gespeist aus ganz individuellen Erfahrungen, also ihre Art Andenken an die Zeit mit den Menschen dort und den Schönheiten dieser?Länder.??
In ihrem Konzert bildeten beide einen schönen Gegensatz. Parissa repräsentierte die quirlig-temperamentvolle Seite, während Carl der freundlich-lächelnde Ruhepunkt des Duos war und auf seiner Gitarre für virtuose Glanzpunkte sorgte. Parissa hingegen verblüffte immer wieder mit klangmalerischen Vokalisen, die dem Konzert bewusst heitere Momente verliehen. In Ihren Liedern geht es um ungewöhnliche Menschen, wie den 76jährigen japanischen Zenpoeten, dem sie in Tasmanien begegneten, während sie eine wilde dreiwöchige Konzertparty mit dortigen Musikern durchlebten, über ein Massaker an den Aborigenes, über einen weißen Völkerkundler und Aktivisten der südafrikanischen Antiapartheitbewegung?oder über den alten brasilianischen Zug, bei dem das Publikum dann die Dampfpfeife der alten Lok zu imitieren hatte. Diese beiden sympathischen Musiker öffneten den Konzertbesuchern an diesem Abend ganz weit das Tor zur Welt mit ihrer Vielfalt an Musik, Menschen und ihren Schicksalen und strahlten dabei ungewöhnliche Vitalität und Lebensfreude aus. Auch wenn es eher einer dieser leisen, intensiven Abende war, war die Begeisterung des Publikums am Ende unübersehbar. Ein anwesender Besucher, der selbst lange Jahre in Großbritannien gelebt hatte und somit auch die sprachlichen Feinheiten der Texte verstand, lobte vor allem deren ungewöhnliche poetische Qualitäten.
PANORAMA-MUSEUM?Fred Böhme?Am Schlachtberg 9?06567 Bad Frankenhausen?Tel.: 034671-6190?Fax: 034671-62050?e-mail:

- am 10. Oktober im?PANORAMA-MUSEUM??

"Carl Cleves und Parissa Bouas in der Musikschule"

Schon wieder ein Konzert in der Musikschule, wird sich der kulturinteressierte Leser bei der Ankündigung gedacht haben. Doch dieses Mal war alles anders. Beim Konzert von Carl Cleves und Parissa Bouas erschien die Kerschbaumsche Villa der Musikschule wie verzaubert. Das lag in erster Linie an dem australischen Musikerduo, doch auch an der veränderten Raumsituation. Wer hätte schon mit einer Bühne im Kammermusiksaal gerechnet? Gedämpftes Licht, herbstliche Dekoration, man ahnte, dass an diesem Abend etwas besonderes bevorstand. Kaum hatten Carl Cleves und Parissa Bouas die Bühne betreten und die ersten Töne gespielt, wusste man auch schon was. Die Entspanntheit, mit der die beiden in Australien mehrfach prämierten Musiker mit ihrem Publikum umgingen, übertrug sich sofort auf die neugierigen Zuhörer. Auf der Suche nach Klangfarben und musikalischem Ausdruck zur Unterstützung der aussagekräftigen Texte, entwickelten die Musiker eine selten zu hörende Leidenschaft. In leisen Tönen steckt hier die Kraft. Nicht in erster Linie das Publikum mitreißen, sondern mitnehmen auf eine Reise durch die verschiedenen Kontinente und Geschichten, die das Leben der Weltenmusiker prägt. In bester Singer-Songwriter Tradition bringen Carl Cleves und Parissa Bouas im Zuhörer Saiten zum schwingen, die bereinigend wirken und „wellness“ für die Seele sind. Glasklar intonierter Gesang, kultiviertes Gitarrenspiel und virtuose Perkussionseinlagen stehen dabei immer im Dienste einer musikalischen Aussage. Selten ist die Atmosphäre bei Konzerten so dicht und ausgleichend wie an diesem Abend.

- Holzminden 2008 - Director - Alex


Out of Australia - Stockfisch Records
Turn Back the Tide
The Voice of Your Heart
A Small World
Carl (solo CDs) All Alone; Tarab



Australia’s definitive coffeehouse couple

Carl Cleves and Parissa Bouas, better known in Australia as The Hottentots, are two of Australia’s finest songwriters, who weave stories with songs, touching a deep vein of humanity that leaves audiences moved and uplifted. Parissa’s dulcet toned voice and Carl’s warm rustic baritone provides the perfect accompaniment for his unique guitar style, honed over many years of intrepid travelling. Classic folk melodies combine with strong lyrics and an international flavour to provide a well-focused, fresh and definitive sound. Together they have headlined at all major Australian folk festivals, including Woodford, Port Fairy, Blue Mountains, The National Folk Festival, and many more.

Admired and respected across the globe by audiences and peers alike, The Hottentots stunning discography boasts four award winning independent records, and now their first release on the renowned Stockfisch Records label, to widespread critical acclaim. “House of Sorrow” from the album, was recently featured in the International Porsche Magazine’s cutting edge iphone scan, music streaming platform.

Known for excellence in music and sound, the German audiofile label, Stockfisch Records have produced the Hottentots new CD , “Out of Australia”. It is a super audio, surround sound production by the famous tone meister, Gunter Pauler, recorded in his ‘state of the art’ studio in Northeim Germany, one of the best acoustic music studios in Europe. “ working with Gunter is a dream come true…we simply couldn’t afford to record in such a fabulous studio…he has worked with Eric Clapton, Sting, The Stones…”

For lovers of an intimate musical experience, “Out of Australia” is a collection of mostly story songs, covering a large range of topics: Way Down in the Mines, about an indentured labourer, Bethlehem Bell Ringer, with its sincere message of peace; Don’t Flowers Grow, the plight of refugees, Carmen, the loss of a loved one.… Along with Carl, on his Joe Gallacher acoustic guitar and voice; Parissa on vocals, guitar, shruti box and percussion, are a number of great musicians playing some extraordinary acoustic instruments such as: swarmandal, jew’s harp, tambura, hulusi, mbira, cor anglais, violoncello, dobro, upright & fretless bass…

Carl Cleves, originally from Belgium is an excellent guitarist, multi-award winning songwriter, singer and storyteller. Carl has won the coveted Australian Songwriter’s Assoc. award for Best Lyrics and Best Folk Song, the national AUSMUSIC award for Best Folk Song and has a shelf full of Dolphin Awards. Carl’s adventurous life has included stints as an antelope trapper in Uganda, relief worker in cyclone struck India, recording star in Brazil, radio broadcaster and ethnomusicologist in Africa and fisherman in the South Pacific. Carl’s first book, ‘Tarab: Travels with My Guitar” was published July 2008 by Transit Lounge. His recent solo CD’s are: All Alone 2007; Tarab 2008. A new CD is in the pipeline. | www.myspace/

Parissa’s singing has to be heard to be believed. “A voice that would aggravate angels with its beauty” is how Philip Adams described Parissa’s extraordinary voice. In Brazil they named her ‘Patativa’, after a bird renowned for its singing. Daughter of a Greek sailor, she has been performing, and composing, since childhood. “ I distinctly remember playing ‘God save to Queen’ to my mother, and having her tell me it wasn’t my composition…I must have been 4 or 5. I learnt early that I had to create something entirely new”. Her classic songs are sung by choirs and performers around Australia. In 2000 Carl and Parissa wrote the anthemic “Put Your Hand in Mine” for the Woodford Millenium Fire Event Choir of 700 voices, which she also conducted. In 2010 she wrote & recorded “I Belong”, in Greek, for the popular Hynopeadia WorldBeats album, which was featured on Triple J. Her haunting voice can also be heard on Peter Westheimer’s new “Tranzworld Express” CD.

“This is a gem and moves to the top of my listening pile.” Folkworld, David Hintz

“Musical travelogue distinguished by stunning vocals and unique instrumentation...” **** Audiophile Audition

“With this album "Out Of Australia" Carl Cleves and Parissa Bouas prove yet again what strong songwriters and singers they both are…For lovers of an intimate experience… this album is an absolute must.”

“Parissa has a voice that would aggravate angels with its beauty”
Philip Adams, ABC Radio National

“exceptionally well written music and lyrics, beautifully arranged and superbly performed” Debra Manskey, Australian Songwriter Magazine

“a rich imagination and a constantly renewed vitality.”
Fons Jacobs, Gazet van Antwerpen