BIOGRAPHY
Described by Time Out Magazine as a composer whose projects and performances range from being "evocative of epic cinematic soundtracks combined with lyrical intimacy...", to immersive environmental and architectural sound installations, 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 (2018), 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 film scores, Ambient Music, and classic pop, thinking in terms of "miniature movies" to create pocket symphonies and an indelible, sprawling landscape of sound.
Throughout her career, Mary Edwards' credits include composing, arranging and voice/narration for projects and sessions, including film, theatre and television scores (BBC, PBS and ABC-TV). She has been commissioned as an environmental composer-in-residence for The Provincetown Museum, The Grimshaw-Gudewicz Gallery, Indivisible, 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 on-site soundscapes, will be released as an album, and has been described in its nascence by writer Katt Lissard as "...an 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."
In August 2017, Mary Edwards will release Everyday Until Tomorrow, her fourth studio album, a conceptual "soundtrack" for an imagined television series set in a 1960s-era NYC airport. Available on Bandcamp.
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