Morphing her accents pleasantry into a dreadful tone of voice that she is proud to say horrifies the fashionable listener, signifying the equally unsettling multiple personalities and topics truly enamoured of poesy. In a pre-eminent and alternative potion of diverse spoken word, music and sound effects –developed in childhood when she would write and then recite her verse through impish acts, dramatizing each subject and character with her voice.
All praise was subsequent to an introductory single – A coffin for a bed (2002). Two years waved the partially-deaf autodidact author, composer and historian amidst the villainy of psychosomatic terror and farther coerce from a formal diagnosis of an absinthe addict, an alcoholic who had acquired a taste solely for the green fairy. Prospering onto the thought of sobriety empowered by the demand for her work, at age seventeen she released the equally highly successful extended-play entitled The Raveness (2004) – the same year that she was terrorised out of higher education.
This record unveiled further astonishment, The Raveness – returning to the tantrum throwing five year old perpetually plagued with the need to become a wunderkind after witnessing various recitals around the county – was a self-taught harpsichordist - never receiving any classical training and inventing an exhilaratingly peculiar approach to the genre, daringly distorting the instrument with a first-of-its-type tone best suited to her aggressive playing style, oftentimes accompanied by virginal, accordion, organ and piano. To this date she constantly is bled dry of physical copies of the works by literature and music lovers worldwide.
After a plethora of singles and extended-plays in both her specialist genres, she released her first full length feature – Of blood and absinthe– originally recorded between the years 2002-2012. This release saw her return to frolicking with absinthe but as an instrument, a percussion constructed of absinthe, sugar, spoon and glass – a first for anyone – coining the recording of the prologue, Emerald blood. Emerald blood was scribbled in her diary at age fourteen, first published for the reader in the Lavinia book and the success of the full length poetry album can be attributed to its production.
Though very much underground in preference it’s quite possible that this poet will go down in history amongst England's youngest of virtuoso's, for her capability despite various forms of disability; now a jubilant young woman renowned for her positivity and eccentric colourful nature usually seen laughing - and heard significantly in jest within her tales - is proudly plain in appearance and parades no gimmick. By choice and not illness - as is oft mistakenly thought - she is known to hold no passion for being centre stage, has no hunger to set foot in front of an audience with an obvious resentment of cameras. An independent young woman who lives a quiet life and flourishingly since the beginning has in solitary written - except the obvious compositions and poems written by others - performed, recorded, engineered and published the releases and run all business aspects of her work blithely anointing with her talents as an independent author and recording artist.