In early two thousand and six in a small medieval corner of Shakespeare’s England in the county of Warwickshire Siân Lavinia Valeriana went floating down the river Avon on a small boat called Rosalind – Day dreaming up a conquest to follow in the footsteps of the empowering female writer George Eliot, everyman’s darling William Shakespeare and the fork tongued Aleister Crowley who it can be said placed Warwickshire literature on the map; Daily venturing places gilded with the legacy of such literary legends and leeching onto historical influence from surrounding places such as Royal Leamington Spa, Stratford-Upon-Avon and Warwick; An idea had burrowed as if a poetic parasite into the star-crossed autodidacts mind predestined for words to give birth to her nom de plume ‘The Raveness’. Although Siân Lavinia began writing poetry in her childhood - it would not be until the daydream had eaten its way into her untameable teens – sitting just outside of the grounds of a castle built by William the conqueror, sipping an illustrious elixir cleverly disguised in a hip flask - the poem that changed her stars entirely for its ensuing performance would be written.
The poem now her most recognised globally for its title ‘Emerald Blood’ a term that originated in her personal diary and she its creator. Emerald blood is an historical study of ‘Absinthe’ and a promise to prosper into sobriety after being formally diagnosed by a physician as an absinthe addict for the green fairy during her alcoholism was all that she did consume - later featured in two thousand and twelve on her best-selling poetry début record ‘Of blood and absinthe’ - Valeriana’s first full length feature released six years after her spoken word blood doused short the 'Eat the heart - EP', that introduced the then eighteen year old unorthodox shrews chaos unto the world –A heady potion of multilingual verse usually brewed from her native language and that of her subjects origin. Reflecting her anise-flavoured spirit this controversial out of the box thinker is happily misunderstood in today's scene – By every line ‘The Raveness’ is without the intention of seeking that which is commercial with her hallucinogenic approach to bending the mind with the verse of performance poetry rather than conventional song giving no need for 'Music videos' that she has no passion for - believing that from words thought alone can create its own magic lantern - 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 vocal 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. All coated with the raveness signature gramophone hiss that serpentine's to coverlet every nostalgic ear.
Not just infested with the idea of armouring oneself with pen and paper – Since age five after hearing Eartha Kitt's "Old fashioned girl" playing on a gramophone – intrigued by a tinkling plucked instrument strumming in the background and discovering William Byrd in her youth with the sounds of the sixteenth century often filling the air in Stratford – Lady Valeriana had consistently been plagued with the need to become a self-taught harpsichordist. During a time in her youth riddled with trauma - from domestic, emotional and mental violence to rape and cancer - this scorned damsel in distress left heavily scarred both physically and mentally with a complex disorder, body dysmorphic beliefs and deafness in her right ear - Began self-tutoring the art of the harpsichord for therapeutic means. From the beauty of this instrument she progressed as always through her own teachings with great patience the skill of other instruments and with no limitations continues to explore any instrument she wishes to feature within her works whether a violin, accordion or musical saw. Adored by listeners for her intently ludicrous approach to the works of Antonio Vivaldi, Wolfgang Amadeus Mozart and Ludwig Van Beethoven in her two thousand and six release 'In Wien schlafen wir (In Vienna we sleep) - EP' dedicated to those resting in Vienna who have been a musical tourniquet to her life's wounds and for her later performances of William Byrd, John Playford and a head splitting performance of “Toccata and Fugue” that would swiftly evacuate its original composer Johann Sebastian Bach from his powdered wig in her release ‘Farewell to the court’ which takes its title from a Sir Walter Raleigh poem - These records showing how Valeriana has solely through her noted self-tuition and with great patience and love for the masters become classically trained also portrayed within her own written edgy compositions such as ‘The tyranny of a heart’ (Eat the heart – EP) , ‘Confessions of an absinthe addict PT.II’ (Confessions of an absinthe addict – EP), 'The heart inside a jar' (Of blood and absinthe) and frequently dressing the distant background of her performance poetry.
Valeriana is noted to hold no passion for being centre stage and seeks to do no grand tours to accompany her work - despite having this severe recognizable phobia of the limelight and an avoidant; to her surprise the physical copies of the records have sold out within months of their releases accompanied by excellent reviews from listeners demanding a book publication – From childhood through to adulthood her life has been as if trapped in a horrid abyss and without any need of fiction would make for a fantastical series of appetising biographical novels - however to her poetry is key and so due to demand two thousand and fifteen sees the unveiling of her experiences and curiosities with the release of multiple volumes written in a self-developed literary style - because as it is with her records when it comes to literature; being a limitless inventive vagabond she detests the idea of being one who follows the expected traditional suit. Every tiny aspect of her work – The creation, publishing, right down to her website - is managed solely by her giving her the title of a true solitary virtuoso.