Artists of artTracks Chronicle
Artists within aTc are here for the long arc, not the moment.
They’ve built the technical foundation required to speak clearly through sound.
But they’re here because they believe music still has work to do — not as content, but as a way of thinking, feeling, and paying attention.
This space isn’t driven by metrics or momentum.
It’s shaped by patience, trust, and a shared commitment to letting the music lead.
Alicia Storin
Alicia and I first met at the Cleveland Institute of Music, but our work together has unfolded far beyond traditional concert settings. Much of her practice lives at the intersection of music and movement—writing, improvising, and performing live alongside stage artists to shape the sonic world of theatrical works from within the performance itself.
We spent several years performing together in a piano trio, after which I invited her into some of my earliest recorded projects. What continues to draw me to working with Alicia is a rare balance: deep confidence paired with a complete absence of ego. The work always comes first.
She later co-founded Cadence Collective with a flutist and a dancer, creating original, multidisciplinary performances built through close collaboration and shared authorship. That same spirit carries into her role within aTc, where she has been an early supporter and a trusted collaborator from the very beginning.
I trust Alicia implicitly—with the music, with the process, and with the ideas that sit at the deepest level of what a work is trying to explore. It’s a privilege to continue building alongside her.
You can find Alicia on aTc’s first two projects: We Are Connected and Future Languages.
John Lardinois
I’ve known John since we were growing up in North Dakota. We studied together at Minot State University with Jon Rumney, and it was during that time that John quietly opened a door for me that has never closed. He taught me the basics of guitar accompaniment for fiddle tunes—my first real encounter with groove and feel outside a classical framework. Much of how I understand those concepts today traces directly back to his musical instincts.
John is widely known as a fiddler, having won numerous competitions and now serving as a judge for many of them. His album Cowboy Legacy received a Grammy nomination, and while his playing carries all the vitality and character one expects from the tradition, what sets him apart is the purity of his intonation and sound—something unmistakably his own.
Over the past twenty years, we’ve worked together intermittently, mostly through open-ended experimentation with no expectation of release or completion. Our collaboration within aTc marks the first time we’ve committed to seeing a project through fully—allowing ideas that have lived informally between us for decades to finally take shape.
I deeply value John’s musical aesthetics and trust his ears implicitly, particularly when it comes to nuance, balance, and sound. As someone equally at home in classical music, rock, and improvisation—and as a member of both the Dayton Philharmonic Orchestra and the West Virginia Symphony Orchestra—his range is matched only by his sensitivity.
I’ve admired his violin sound since high school, and it remains a privilege to finally capture that sound within the work we’re building together.