Rotary End Records
London-born composer and musician Robb Scott was raised on a steady diet of Roy Ayers, Chic, Stevie Wonder and Teena Marie — to whom this 18-track "double" album is dedicated. Mary Edwards is among the roster of artists (Sylvia Mason James, The Waters, Sandra St. Victor, Noel Langley, Francesco Mendolia, Jody Linscott and Gina Foster) to contribute to Soul Underground (U.K.) calls, "a stellar recording." Mary has collaborated and performed with Robb since 1995, and Siren is their fourth project together.


Described by Time Out Magazine as a composer whose projects and performances range from being "evocative of epic cinematic scores combined with lyrical intimacy...", to immersive soundscapes, Mary Edwards intersperses themes of temporality, impermanence, nostalgia, longing and the natural world throughout her work. Her extended discography includes the solo releases, A Smile in the Mind (2007), Console (2010), Eastern/Central & Mountain/Pacific (2012), and the forthcoming works Natural Anthem, The Space Between: A Sound Trilogy and Endeavour: A Space Trilogy (inspired by the Space Shuttle mission of NASA astronaut, Dr. Mae C. Jemison), where she captures the essence of '60s soundtracks, Ambient Music, and Modernism, thinking in terms of miniature films to create pocket symphonies and an indelible, sprawling landscape of sound. In late 2017, She will release her fourth studio album, Everyday Until Tomorrow, a conceptual "soundtrack" for an imagined television series set in a 1960s-era NYC airport.

Sought after to work in many different musical and sound idioms (including voice, multi-instrumentation, narration and effects), Mary Edwards is also credited for sessions and projects as a composer for film, promos, commercials and environmenal and architectural sound installations.

She has been commissioned as an environmental composer-in-residence for The Provincetown Museum, The Grimshaw-Gudewicz Gallery, Indivisible Gallery, 429 Architectural Spaces, The William T. Davis Conservancy, Gallery 114 and The Beach Institute to compose and design, using sound as a spatial form, such works as For The Time Being, No Man Must Speak but in Whispers, Epilogue for a Quinn Martin Production, Arctic Cathedral Topographies (Aerial View) and per/severance—an historically impressionistic, water-themed sound installation—based on New England's forgotten Quequechan River, which was lauded by the Bedford Standard-Times as, "…evocative and engaging..." Her atmospheric The Space Between: A Sound Trilogy, having previously been available as a series of on-site soundscapes, will be released as an album, and has been described in its nascence by writer Katt Lissard as " intriguing and important project which acknowledges the role of humans in the way architecture functions (or doesn't) in our culture. Mary Edwards hopes to take space back for all of us, not through the seizure of property or the redefinition of place, but though the use of melody and phrasing and multi-aural overlay."