PRODUCER/MIXER/ENGINEER

Anna Laverty is a music devotee.  Her dedication to music production, mixing and engineering has seen her steadily establish herself as one of Australia's finest producers.

Based in Melbourne, Anna has recorded albums for The Peep Tempel, Paul Dempsey, Jae Laffer, Cut Copy, Ruby Boots, New Gods and Eagle & the Worm.

Since moving back to Australia after several years abroad, Anna has been involved in the production and/or engineering of many of Australia's premier artists including Nick Cave and The Bad Seeds, Kate Miller-Heidke and Paul Kelly - to name a few.

Anna started promoting and booking gigs in her home town of Perth, Western Australia at the tender age of 16 and this became the launch pad for a career that saw her graduate from the coveted WAAPA (Western Australia Academy of Performing Arts) with a Distinction in Sound Engineering.  Embarking on an antipodean migration, she harnessed her entrepreneurial skills by establishing the successful Soho indie club night "Hooked Up" and created her own label imprint of the same name along the way, consistently cultivating her talent as a producer.

In 2008 Anna joined London's Miloco Studios, working alongside industry luminaries Ben Hillier (U2, Blur, Elbow, Patrick Wolf and the Macabees) and Paul Epworth (Adele, Azealia Banks, Foster the People and Cee Lo Green).  Working with these master craftsmen afforded Anna the opportunity to add an impressive roll call of international acts to her credits including Florence and the Machine, Bloc Party, Depeche Mode, Travis and Jarvis Cocker.

Comfortable working with a diverse range of artists and genres, Anna is a dynamic producer whose creative ingenuity is equally matched by her technical prowess.

If you would like to work with Anna, request a full discography or get further information, please contact us on info@catherineharidy.com or Anna directly at aklaverty@gmail.com

Electronic artist. Music forthcoming on Island Life Recs + Rawax
Mastering Engineer @ Perla Tape Mastering

I am a songwriter but I think of myself more as an explorer. My songs are usually products of a bigger exploration into a musical idea or technique, but there is also a definite influence from my emotional / intellectual state which can be heard in the songs.
As I went to an open mic night last night and listened to a gorgeous girl wailing the words "I don't even know mysellllllf" I thought, is it healthy to keep throwing ourselves into varied emotional states when we sing a song that we wrote in a moment of passion? What happens when the song no longer represents you, is it appropriate to keep spreading that message if it no longer rings true for you?
I guess the good thing about recording as a medium is that it is a defnite snapshot of a moment in time, it is HONEST it says in this moment this song was REAL to me, I was feeling strong feelings when I recorded this! Here is a snapshot of a person in this particular emotional state! 
When we give a recording of ourselves to the world, we are giving them something really unique and precious. 
In a world where people need to turn up at work the next day, us human beings have become accustomed to compartmentalising our feelings, packing away our grief and sadness, wrapping it into a neat little box and then shelving it... The thing is, if we don't allow ourselves sufficient time to eventually deal with that little package of emotion, we might find that our shelves get full of these packages, until our shelves are sagging under the weight and our feelings start to overflow in ways that are not healthy... in the form of outbursts, conflict and self destructive behaviours - or even just complete collapse. 
Songwriters play such an important role. We allow ourselves to experience those sadnesses, we immerse ourselves, and after swimming around in those depths, we resurface with lots of 'gold' that we have discovered on our journeys inward. When we put this 'gold' into our songs, we bring this gold to our listeners, so that instead of having to immerse themselves in their feelings, instead of having to unpack everything and get 'lost' for days; listeners can just listen to our songs and have their feelings validated in a manner of minutes... the medium of music is a universal language of rhythm (we all have a heartbeat), pitch (frequencies of vibration), and melody (variations in pitch), and soul/spirit;  this multitude of access points, speaks to listeners in a manner that is more immediate than just verbal language alone... Listeners can listen to songs, and experience the 'gold' of understanding for the duration of the song.. for the duration of the song, a listener opens up the lid on their boxed and compartmentalised feelings... they have an opportunity to look at, examine, and experience their emotions in a safe manner, being guided by the song... hearing that another human being has experienced such similar feelings, validates the experience for the listener, lets them know that they are not alone in feeling this stuff... As the song comes to an end, and gives the listener a sense of closure, they can close the box back up... secure the ribbon, put their feelings back on the shelf for next time... They have managed to safely engage with their emotions, without having to be immersed and grieving or sadness for days at a time.

Also, the people who help us songwriters create these precious moments, and deliver these to you so neatly 'wrapped';  are so important. They spend hours behind the scenes editing and ensuring that the recording is the best representation possible.
I've been very fortunate to record with Sean O'Sullivan @ highway 9 Productions, Terry Hart @ Maestro Productions and Bohdan Dower. 
I owe so much to these people who have helped me develop my craft... and thank them from the depths of my soul and heart, for their diligence and support in the creation of my music recordings.

“A joyous presence.” 
TheMusic.com

“An incredible voice. Pure magic.”
Radio13 NZ

“An unexpected surprise.”
13th Floor

Fuelled by humility, integrity and a raw clarity of vision, Kerryn Fields paints enduring musical portraits that detail the colour and feeling of everything that makes us human. 

Drawing comparisons with the likes of timeless creators, Cat Stevens, Townes Van Zandt, Joan Baez, Neil Young, and more, Fields’ trademark warmth of character - evident in both life and music - fuels a creative offering that’s equal parts captivating, refined and heartrendingly insightful. 

It’s for good reason too, because life is something this artist has lived. Fields grew up in Te Kūiti, NZ, a farming community in which both her family and others’ work hard to make ends meet. With Mum on guitar and Dad fuelling an obsession with radio, cassettes and vinyl LPs by all of music’s greats, there was a life lesson in every song of Fields’ childhood. 

With one hand on guitar and the other firmly upon heart, music moved Fields through a time when chronic illness, family separations and the weight of life changes presented this artist with her biggest challenges yet. It would be her relocation to Melbourne during which Fields would settle into her most significant relationship to date: that with her newfound network of fellow career singers, songwriters and performers. Life as she’d known it would change forever. 

Newstead Live Music Festival’s Troubadour Artist of the Year (2019), winner of the MLT Songwriting Award (NZ Country Music Awards 2019) and New Zealand’s Best New Broadcaster (at age 19), Kerryn Fields has released a range of celebrated records including debut LP, Rascal (2015) and award-winning, critically acclaimed single, Mamma (2019).

Sure, her music speaks volumes. But it’s the captivating warmth and courage of this artist that really leaves the audience shining from the inside-out.

Oppression.....Great band ,Fantastic songs!!!


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