This album spans over 5 years of songs and is dedicated to my beautiful wife, Nicole. I love you!

Review by BeachSloth:

"ATLS PLAZA N.D. – SAINTELLE
I love a good immersion album. Plenty of artists have them, the sorts of things that sprawl out into the infinite. For me, Pan Sonic’s “Kesto” offered a brilliant take on that. The first disc of outright industrial punk chaos before the sound gradually settled into beautiful droning passages. Ditto for the far more recent Sam Gendel, whose “Fresh Bread” ended up being one of my favorites of 2021, at a whopping four hours. Or, to go for perhaps a more direct reference point, Autechre’s “NTS Sessions” which took me literally weeks to get through, listening over and over again.
ATLS PLAZA N.D. puts most musicians to shame with the transfixing “SAINTELLE”. So much to love here, from the various forms of production ranging from lo-fi to mid-fi to high-fi, there is an elegance to be found within the jumble of percussive meets elastic melodies. The evolution of the sound, and the movement contained within, is highly personal. Usage of morphed language, distorted beyond recognition, definitely does fit into a bit of Mouse on Mars’ human versus machine dynamic, most notably explored on their most recent “A.I.” album. Indeed, there is a ton of stuff to unpack within the kaleidoscopic array of tracks on display.
The nice two-step wobble of “SPF 50” starts things off right, featuring a number of odd distortions with the individual groove gradually torn asunder. Hard-hitting industrial beats give “Zero Wing” a churning sense of dread. Indeed, this track has an ancient approach, fitting in nicely with the ominous work of the Club Moral collective. Raves gone array give “NON-DUAL TRUTH” a pure chaotic rush. Nods to EVOL’s madcap antics appear throughout the extended off-kilter dance celebration. Woozy tropical vibes rise out of the chill “To Easter Island”. This good energy continues with “メカクシティアクターズ” where there is a happiness resting right at the work’s very core, with a catchy riff that never gives up. Surprisingly spry “Deep Reality” possesses an intense energy with the tempos brought up a bit for a shuffling groove that would make Thomas Fehlmann jealous. One of the highlights of the collection comes from the pure warehouse party “Who speaks and acts?”. From the synth pads to the insistent beat a Basic Channel-like transcendence takes shape. Nice digital processing on “IIDX” gives the song a glitching funk aesthetic. Like a beat trying to stomp through a swamp, “BACHLOGIC” feels completely disorienting. Vaporwave meets Boards of Canada on the symphonic “MIT ANIME CLUB”.
Rhythms gain a ruthless, krautrock-type efficiency on the endless drive of “AlphaZero”. Here there is a degree of urgency for the sound has a force of nature behind it, thanks in large part to the tremendous, in-your-face bass. On “株式会社プロダクション・アイジー” there is a sense of vast, wide-open spaces. A lot of grime gets thrown into the mix further adding to its dirty, gritty feeling. Hyperactivity reigns supreme on “Simulacra” with the handclaps and distant hum of drone giving it a trance-like quality. From second one “Ketheric瑜伽” has an inherent funkiness to it. The neat robotic hook gets interrupted periodically adding an element of oddity into the mix. Fidelity gets warped and extended with “Maya Amano天野 舞耶”. A long-lost soundtrack element helps to give “The Velvet Room” a Lynchian eeriness. Muscular percussion anchors the hesitant snares of “Magicantマジカント”. One of the most communal of tracks “देवी भागवतपुराण” features an entire atmosphere of sounds that build off each other. Always flirting with dance, the sound is skewed ever so slightly giving it a joyous demeanor. Impeccable synth chords give “虹香瑠 Part 6” a regal presence. Weird, cartoon-like noises race through “…transcend thought and duality” offering yet another peak in the album. Fully realized, the song definitely resides in the German techno tradition of constantly escalating flourishes.
“『音』束に乗れ! 享『楽』のレコードライン!” slows things down considerably. On “バブルガムクライシス” goes for an electro sound that Daft Punk always tried for, but filtered through the worldview of death’s dynamic shroud. A surprisingly smooth deep house quality makes “dissolution of the linear mind” a sophisticated take bringing to mind DJ Sprinkles’ strict yet soulful style. Somehow “Akira” never has its first burst of energy let up. Sounding like a house party heard from a block or two away “斗母元君” focuses on spirit more than anything else. Elements of City Pop flow through the synthetically seductive “Expressways of Japan 高速道路”. Chaotic acid techno rests at the core of the furious “सच्चिदानन्द”. A nice jazz riff gets unraveled on the swinging “メリクリ” where Ahnnu’s influence is particularly strong. Like Neon Indian gone glitch “Studio 4°C” has a distinct 80s VHS cadence behind it. With “Pranāma” they go into overdrive featuring a wild, uninhibited atmosphere.
Fantastically named “Super Potato” incorporate videogame soundtracks into the fray. Beats go for a lumbering presence on the languid “108”. Deepchord Detroit Techno elements tie the whole of “The Golden Verses of Pythagoras哲” with its contemplative approach. Nice bursts of color make “TECHNOSEXUAL” one of the most upbeat pieces on the whole collection, as the chord progressions have a lot of cleverness going about. Mysterious, like finding an old track on a long-lost cassette tape “Siddhārtha Gautama” fidelity adds to the sound’s beguiling nature. Funk and dance become one with “Kinetic Patterns in Reactive Chess”. A sense of tragedy rest at the center of “渋谷系2020”. Glimmering noises rise up into the sky for “HOSAKA 人工知能” holds nothing back. Dubstep effects are used with great gusto on the noisy staccato hits of “EIGHT PIECES OF SILK BROCADE”. Rolling on through like a half-forgotten dream the intense journey of “Akashaआकाश” offers exquisite patterns intermingling, with a hint of yearning. Hyperactivity brings “Zeno’s Paradox” to its breaking point.
“RAMANUJAN” explores a melting atmosphere as ambient chords off in the distance radiate a dream pop demeanor. The buildup for “HYPERPHLASIA VS. HYPERTROPHY” effortlessly blends tribal rhythms alongside a post-rock patient ethos. Akin to early Gescom “अद्वैत वेदान्त” has a slight sci-fi aesthetic propelling it forward. Nostalgic aspects of “WINGGATE PROTOCOL” conjure up images of ancient soundtracks. Every element comes together flawlessly on the cryptic “NOCTURNE”. Disembodied vocals swim through the thick molasses of “äçramas” making it a true blooming joy. R&B distorted beyond belief makes “亜美 水野” a nice take on the classic 80s sound giving it a nice warped perspective. Wonderful sleazy the down and dirty “リヴァイ・アッカーマン” goes for a supreme wildness. Intricate detail emerges from the deliberate gestures of “虹香瑠 Part 37”. They strip things down to the essentials on the minimalism of “009”. Quite expansive “Iziel” sprawls out into the infinite. Nice elements of folk filter into the delicate “Kadochnikov Система”.
Truly sublime “東京オペラシティタワー” presents a lush, luxurious world. From the echo of the chords to the insistent beat, there is something quite lovely about it. A slinky bass worms its way through “117-111 Part 2”. Beats and chords hit with the ferocity as “वेदवती” has a yearning aspect to it. Old school hip-hop flavors ensure “भगवद् गीता” has a dissolving aspect to it with the sound melting away at times. Like transmitting from some distant planet “ニューロマンサー” explores a feeling of endless space. A gleeful attitude gives “虹香瑠 Part 40” a righteous degree of swagger. Pure pulsing energy drives the attack of “नाडी”. Ending things off with a hypnogogic pop flair is the neon-hued “BISTROVER”.
Without needing to say a single word, ATLS PLAZA N.D. offers an entire dissertation’s worth of material on “SAINTELLE”. "