Mary Edwards EVERYDAY UNTIL TOMORROW Limited Edition - 20.00 USD Also available: A Smile in the Mind Console TRACK LISTING: 01. Idlewild (International Incidental Theme) 02. Everyday Until Tomorrow 03. Altamont 04. The Juice of Stone 05. Chorus for Isolette 06. For the Time Being Based on a series of time-based projects, Everyday Until Tomorrow emerges as sonic representations of interrelated spaces––airports, woodlands, and wombs––which are, at once, perceived as both vast and intimate: each shares the conflict of desire and uncertainty that seems to simultaneously haunt these types of spaces. These musical/sound pieces influences range among Ennio Morricone, Janet Cardiff, and Philip Glass. Every aspect of our daily lives is a spatial experience. In this facet of her compositional practice––explorations of sound and its relationship to space––Mary Edwards sets out to create a favourable human condition, and support reactions and emotions without directing them; it's an approach to architecture that Juhani Pallasmaa calls "Sensuous Minimalism," where a certain neutrality, restraint, and silence are an inherent quality of the discipline: "The significance of architecture is not in its material form, but in its capacity to reveal deeper layers of existence". In Architecture and Disjunction, Bernard Tschumi notes, “…space is not simply the three-dimensional projection of a mental representation, but it is something that is heard, and acted upon.” Each space draws on the relationship we have with temporality, where the anticipation of travel or movement often overshadows the destination. Here, too, one can transform their existence through imagination and dimension: In Gaston Bachelard’s The Poetics of Space, he implies that smallness or the miniature allows one to ‘triumphantly extricate [her]self from the awkward situations in which [s]he happens to be.’ These sounds may draw the listener into a compact world, providing comfort through reverie of flight, contemplation in the wilderness of the inner/outer landscape, and recollection of one’s original habitat. Written in homage to Eero Saarinen's Terminal Five structure at JFK Airport and dramatically underscored by documentary style narratives, the title track is described by Mary Edwards: "Both the terminal and the aircraft are three-dimensional worlds of stories that cross space and time. This piece evokes the feeling of leaving one’s familiar environment, and the act of travelling abroad, only to return, transformed. Personal events that lead up to a trip can affect how we see and even hear things—senses blurred together, fragments of consciousness–how mood, climate and culture can change radically in the space of a single journey. Using a method of expanding spaces between the sound in order to draw the listener further into the airspace, I composed this piece for an environment known to be in a constant state of flux, a rendering of some of that chaos that comes with the territory of being transient, and trying to navigate a vast, yet enclosed cultural and physical place. An airspace is the distillation of many countries conglomerated into one, a place of connecting, separating, and movement within movement." “Not only has Mary built a resonant dialogue among disciplines, she has amassed a body of work bound together by common themes, of the nature and philosophy of space, of the place of home and the power of nostalgia and, of the effects of all of these things on both the fixed and fluid aspects of identity and experience.” Daniel Alexander Jones, Alpert Award Fellow, Playwriting "...an intriguing and important project which hopes to subversively acknowledge 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..." Katt Lissard, writer “...quite resonant...” Laura Koplewitz, composer "Mary Edwards is sensitive to aesthetic spaces. There is a sense of a grand nostalgia, a wonderment of Modernist sensibility and individualism within her compositional subjects...Mary results in finding and creating spaces between that are intimate, romantic and idyllic." Laiwan Chung, sound artist "Mary Edwards doesn't write melodies so much as emotions; her music is the heartbeat that gives movie images instant and lasting resonance." Gekkan Bijutsu - The Fine Art Magazine (Japan)