Parissa has a voice that would aggravate angels with it’s beauty   ”

— Philip Adams, ABC RN

My day began with gray clouds but it ended with the full force of the wind. Words cannot describe how much I Love your CD. I played every song twice sometimes three times. Then played the entire CD over and over. The only disappointment is there's only six songs but surely they must be six of the most beautiful songs ever written. This is the music of my life at the moment. I haven't been able to listen to music for some months now but your lyrics and voice are singing me better. Xxxxxxxxxxxxxxx  IT'S BRILLIANT!!  ” - Andrew Worboys

— Various Reviews

"Those who took a shine to Madeleine Peyroux when she emerged a decade ago, and then discovered that, live, she struggled to sing in tune, might care to lend their ears to Parissa Bouas. Like Peyroux, she immediately engages by being blessed with a voice that has timbral overlaps with Billie Holiday’s. More significantly she shines the charm off that voice on some exceptional self-penned songs. Nothing’s Gonna Last is an enchantingly ruminative end-of-the-affair ballad, for instance, and most others share this bittersweet quality. Bouas will be familiar to some readers as one half of the Hottentots. This time her key collaborator is the Dutch multi instrumentalist Michiel Hollanders, who delights in decorating the breezy, jazz-inflected songs with the ethereal sounds of musical saw. Her singing glides on a slightly detached trajectory that doesn’t weigh down the soothingly sad lyrics.  ” - 3.5 stars

— John Shand -Sydney Morning Herald

When I started programming Guilty Pleasures, Byron Bay’s inaugural cabaret and burlesque festival, I knew that Parissa Bouas was the only diva I wanted for our Saturday night show: Pleasures that Do not see the Light of Day.     Parissa’s dark cabaret set perfectly encapsulated the sensuality, depth and delicious darkness that we wanted for Saturday night’s show. Her exquisite and often haunting original songs echoed jazz, gypsy and other world music influences. They were brought to life beautifully with Parissa’s luscious and extraordinary voice, supported by her band of classy musicians and her knock-our performance, which was brimming with passion, whimsy, melancholic longing and gusto!   Parissa’s physical beauty and magical presence easily filled our large cabaret room. Like any true diva she drew her audience into her confidence immediately, effortlessly moving from sultry siren, to witty comedian, then dramatic chanteuse and even ethereal angel – transporting the capacity crowd of 200 cabaret-goers to each song’s unique world.   From the moment I invited her to perform as a headliner in Guilty Pleasures to the end of the festival, Parissa’s professionalism, experience and passion for performing made it an absolute delight to work with. She responded to all communications punctually, offered helpful suggestions, was generous with her time and support, and gave a beautiful polished performance that received rave reviews from audience members. I would love to collaborate with Parissa on any artistic project; she really is an extraordinary talent and a true professional.”

— Louise McCabe -Guilty Pleasures Cabaret & Burlesque Festival Director 2017

IT’S hard for me to recall listening to music like Parissa Bouas’ outside of a film soundtrack. The best way to describe it would be through a sort of cinematic stream of consciousness. 
Track one, Sad Eyes, evokes the hand of a corpse bride, Tim Burton’s corpse bride, crawling out of the ground in time with the music. Cartoon skeletons wearing vintage suits dance in the shadowed moonlight of a forest.
  Track two, Dance With Me, has a similar motif. I can picture The Addams Family with Cousin Itt and Thing moving to the beat on a dusty floor in the mansion.
  Track three, Nothing’s Gonna Last, is a black and white film. The femme fatale takes the stage with her red rich lipstick and elbow-length gloves. Thick cigarette smoke fills the scene.   Track four, What’s Life About, takes place in a rundown French château. A woman alone with a glass of chardonnay. A tear in her eye as she sits on the window sill, reflecting.
  Track five, Honey and Candle Light, is Mississippi High School reunion. It’s the 1960s and 10 years have passed since graduation. A couple dance, swaying side to side, smiling. Small white gloves, a headband and perfectly styled hair.
  In track six, The Full Force of the Wind, I see the prairie from Gone with the Wind. The sky a rich magenta, splattered with burgundy and deep red.  ” - Leah White

— Northern Star - Pulse Magazine

Parissa dear! Congratulations! I received my cds yesterday and have listened a few times. Well done, darling! Great songs, awesome concept and performance, amazing production!         ”

— Zulya Kamalova