Shontelle’s story is one of dualities—caught between island rhythms and the cold, digital static of the saints in unison project. Born in the high-altitude hills of Cayey, Puerto Rico, she was raised in a house where the air was thick with her father Jameson’s vintage dub reggae and her mother Maria’s (née Santiago) deep, traditional boleros. Jameson, a sound engineer from Kingston who followed a signal to San Juan in the 80s, taught her that every sound has a ghost; Maria taught her that every ghost has a story. In her early twenties, the "digital drift" hit. Shontelle moved to San Juan, diving into the underground glitch-hop scene where she earned a reputation for a flow that was faster than the island’s aging data grids. She wasn't just a rapper; she was a signal-hacker, known for performing in abandoned industrial spaces where she’d pipe her vocals through distorted guitar pedals. 

Now in her thirties, she carries a certain "digital exhaustion"—the look of someone who has lived through the transition from analog warmth to silicon cold. She joined the saints in unison project because she recognized the same "mythic-mechanical" tension she grew up with: the sound of a heartbeat trying to find a rhythm inside a machine. She doesn’t just rap; she transmits. 

In the universe of CODA: SILICON, she is the bridge between the old blood of the Caribbean and the new, flickering wires of the future.