It’s nearly fall 2019 & I'm so pleased to be turning in this note, the last piece of the puzzle for this release - Arone Dyer teamed with Ryan Oslance, as Mistresses.  Mistresses are what they felt they've been musically to each other, as this release sprung forth ebulliently amidst commitments, change, challenge - the seasons of life. 

I’m listening as I write, & the unrelenting, insisting, mandatory tones of “Define” are pushing out my computer speakers, sounding just as aesthetically undeniable on this tiny laptop as they do on headphones, studios, clubs, wherever.  This music doesn’t rely on any preciousness of the listening environment, it grabs you however you meet it.  Which may be an apt corollary for the incredible entity that is Arone Dyer (who is spotlighted here as she’s been in & around my life, profoundly affecting it, for years).  My best guess is that she & I met in NYC in the late aughts, suspicion = on Kent Ave, probably near the twin eyes of West Nile & Glasslands.  We were already destined to tour together, or maybe we were just playing a show - maybe both things.  I knew immediately she was someone I was bound to be fascinated by.  The sounds Arone & her Buke & Gase collaborator Aron Sanchez were making lit up my imagination & joy, with each of their contributions distinct yet interwoven. 

I’ve followed Arone’s creations in as many other presentations as I could witness (mostly musical but not excluding fun times with power tools) - it must be mentioned that I’ve been moved repeatedly by her Dronechoir performances.  Regarding this outward expression that you have in your hands - Mistresses - over the past two years it's been a remarkable delight to witness the evolution of these creations between Arone & co-collaborator + eclectic percussion powerhouse Ryan.

This series (WLS) got me thinking about the mandate “to save great music from obscurity”, “best artists you’ve never heard of”.  I wanted so badly to do right by that, in a thousand different ways, which took me a while to parse.  Something kept spinning me back to, even with artistic ‘degrees of success’, the hustle is often never over, & there's no guarantee of attention paid or space to expand within.  Not to mention basic necessities, or the loose idea of "a room of one's own" - the former mandatory, & the latter particularly poignant to me.  The world asks artists big & small to spread so thin.  The inner & outer revolutions needed to carefully treasure these precious moments can seem rarely pursued... I sincerely appreciate the energy & care Joyful Noise puts forth in doing their part experimenting with what support/advocacy can look like.  & I'm honored to help facilitate sharing more of this music, with more of you.

- Sarah Register, Curator