The Raveness is the pseudonym of partially deaf Warwickshire author, diarist, historian, musician, composer and antiquarian Siân Lavinia Anaïs Florencia Valeriana (1987). Extraordinarily Siân Lavinia founded an independently self-published future at the earliest point of her teens (2000). Smitten with her distinct prominent Shakespeare country accent eager auditors acclaimed her “a ground-breaking performance poet” unsurprising as she flourished in the legacy of the bard. This praise for her pre-eminent diverse multilingual spoken word, sound effects and music with no particular influence from existing genres or artists was subsequent to the single ‘A coffin for a bed’ (2002) followed by the equally highly successful release ‘The Raveness – EP’ (2004) which gained her worldwide recognition as did her gramophone presentation and formal diagnosis of alcoholism for la fée verte often drank from antique porcelain to mock the British tea stereotype, unbeknownst that this characteristic of her sarcastic wit would onslaught a trend. 

World renowned for over a decade as the original artist pioneering with her signature distorted combination of harpsichord and organ, a depiction of the claviorganum in heavy resonance. Delivering an exhilarating approach to classical music and stunning with the knowledge that reflecting her writing skills she is a complete autodidact who’s never received any form of classical training and is additionally a player of strings though seldom features them as the main instrument. 

Battling with cancer she published her history and private journals written from childhood in the repeat sell out book ‘Lavinia volume one’ (2006) a collection of poetic entries evolving around being a victim of domestic, emotional, psychological, sexual violence and mental illness married with her self-researched historical verse. After defeating cancer a book of the complete journals ‘The Lavinia volumes’ (2008) was published. Sober and returning to frolicking with absinthe in the form of an instrument, she coined the recording of her poem ‘Emerald blood’ (2001) using the spirit, sugar, spoon, fountain and glass in a first of its kind percussion to accompany the confessional verse thus becoming the prologue to ‘Of blood and absinthe’ (2012) and to her surprise its impression upon global indie music has amassed a success rate not usual to an attention shy artist so intentionally underground.