30, August 2014 (16:55)
The following releases have sold out
- Farewell to the court - CD
- Stanzas of Counter play - CD
- Of blood and absinthe - CD
- Lavinia | Vol. 1 - Paperback
- The Raveness - Paperback
A daughter of Shakespeare’s country and another cursed character set to flee her dreaded past through artistic liberty. In 2005, Warwickshire native 'Siân Lavinia' or simply referred to as 'Lavinia' (Born Siân Lavinia Anaïs Valeriana) age just seventeen went sailing down the river Avon on a craft dubbed Rosalind. After deep contemplation on that day was made the decision to retreat from the barbaric ordeals since infancy she had succumbed to by dint of poetry. An attempt to cure the suicidal adolescent trapped in a horrid abyss and riddled with trauma from the villainy of domestic, emotional and mental violence, rape and cancer – scarred physically, emotionally and mentally with what physicians have characterized as a complex personality disorder with partial deafness. Reflecting on the moment when she wrote her first ever poem scribbled in 1993 at just age six called ‘Monsters’, a child’s diary entry referring to the moment when the girl described by grown up’s as "old before her time" encountered an hallucination due to nyctophobia - also realising her worth, unstoppable and prepared to battle on just to spite her abusers (those that also without fail declared that her art had no potential) the young female promenading amongst the legacy of William Shakespeare, George Eliot and Aleister Crowley in the walkways of Stratford-Upon-Avon, Royal Leamington Spa, Nuneaton and Warwick gathered her poems that she had written subsequent to ‘Monsters’ and prepared them for publication. One year past and 2006 saw revenge arrive in the form of a book ‘Lavinia| Vol. I’ released independently by the teen and it exposing some of her tribulations. A variety of works; consisting of diarist, historical and romantic poems also containing a facsimile of her 1993 poem.
A week after the books début sitting just outside the grounds of a castle built by William the conqueror, sipping an illustrious elixir cleverly disguised in a hip flask. The half deaf Lavinia – who had now elected the nom de plume ‘The Raveness’ an epithet given to her in humour by a close acquaintance for her love of macabre writings – questioned her future after additionally being formally diagnosed by a psychoanalyst as an absinthe addict. An alcoholic whose alcoholism due to curiosity can be attributable to ‘Absinthe: The green goddess’, written by the Warwickshire born Edward Alexander Crowley in 1918 – the green fairy was all that the underage youngling did consume. Disturbed by this further diagnosis and unsatisfied with literature alone after observing an assortment of plays at the local world famous Stratford-Upon-Avon based Shakespearean playhouse - ‘The Royal Shakespeare company (whose influence can be accredited for her career)’ - an idea had burrowed into the autodidacts star-crossed mentality. Referring back to juvenility she would write and then recite her verse through impish performances – dramatizing each character or subject with her voice.
Upon this decision for change - frolicking with percussion constructed of absinthe, sugar, spoon and glass – a first for anyone and denoted to her by music lovers globally – the recording of her best-selling poem, ‘Emerald blood’ was coined. Emerald blood was a poem featured in the 2005 ‘Lavinia | Vol. I’, originally it was scribbled in her diary at age thirteen as an historical study of the beverage and a promise to prosper into sobriety. Six years after its creation (and now sober only drinking her elixir for leisure) it would be the bizarre prologue to ‘Of blood and absinthe’ (2012) Valeriana’s first full length feature and follow up to her spoken word Bathory short the 'Eat the heart - EP' (2006) that introduced the unorthodox shrews chaos onto the globe. Now reflecting her anise-flavoured spirit this controversial out of the box thinker is happily misunderstood in today's scene – by every line without the intention of seeking that which is commercial with her hallucinogenic approach to bending the mind with her ramblings rather than conventional song. Grappling those whose imagination also runs wild with her talons and absorbing them into her maelstrom of madness and story-telling. As the fine accent feeds you the plot, the transforming of voice will also send you nose diving into a hellish nightmare with a slight demonic and spontaneously uncomfortable vowel that she is proud to say horrifies the fashionable listener.
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