New Gen DJ’s Love Letter to Computers | Ninajirachi Review

Last Updated on 2025-10-19 by a-indie

BELONG Media / A-indie Editor-in-Chief yabori here. Even when listening to the same music, each person feels it differently.

Moreover, if the countries and cultures people grew up in are different, those differences become even more interesting.

What we’re delivering this time is a special “music cross-review” project that transcends borders!

The writers are Yuuki Takita, who has returned to writing reviews after several years, and RAM, who lives far away in Argentina while loving Japanese culture.

Following a chance encounter on Discord, last time they listened to an album by the American newcomer band Racing Mount Pleasant and shared their impressions from their respective perspectives.

And this time, we’re diving deep into the debut album ‘I Love My Computer’ by Australian DJ and music producer Ninajirachi.

Please enjoy what kind of “chemical reaction” these two reviews born on opposite sides of the earth will create.

Ninajirachi ‘I Love My Computer’ Cross Review

Reviewers: RAM, Yuuki Takita　Editor: yabori (Tomohiro Yabe)

From RAM’s Perspective

I’ve again been granted the opportunity to write a cross-review with Takita-san. A staple writer for BELONG/A-Indie, whom I deeply admire for his writing ability and collection of incredible interviews.

I believe the magic in a cross-review lies in the contrast between the multiple perspectives put by the writers upon the same piece of art. This occasion, in which we’ll be discussing the album ‘I Love my Computer’ by Ninajiraichi, a recent release that has been deeply meaningful to me, I am particularly curious as to how Takita-san has perceived and interpreted it, and how our views will contrast.

‘Anythin’ is possible with fingers, eyes, a mouse, and a screen. ’

Who is Ninajirachi

Ninajirachi is an Australian DJ and music producer who has been active since 2017. Her musical background is constituted by Nina teaching herself to use FL Studio as a teenager, and then expanding her experience with the release of multiple singles and EPs, which culminated in the release of her debut album ‘I Love my Computer’ earlier this year.

Just from the cover art, the listener can grasp the bold declaration of intentions this project holds inside it. The cover has Nina lying on top of a montage of everything that constituted the culture of kids growing up on the internet during the first quarter of the century.

This boldness doubles the bet with the opening tracks. ‘London Song’ cuts the silence from the air with a thick synth texture and a hypnotizing rhythm, which, paired with Nina’s vocals and lyricism, creates an atmospheric dream painted by the colours of the blue light of a computer screen.

The following tracks emphasises this atmosphere deepening the details presented in this fantasy; ‘iPod touch’ does a great service of nostalgic reminiscence for the early 2010s, in a way which feels celebratory rather than longing for a long gone moment;

And ‘Fuck my computer’ comes as a statement, presented with the upmost confidence and sincerity a lyric can be delivered with: ‘I wanna f*ck my computer, ’cause no one in the world knows me better’.

‘If somethin’ really feels good, why then would I fight it?’

As the project progresses, we get a relatable view of life growing up alongside the internet. From using the tools available to you to attract the attention of a potential romantic interest, to unwillingly finding stuff on the internet that ends up leaving scars on you.

The song ‘Sing good’ comes as a highlight for me. With the melody presenting itself almost as a nursery rhyme, Nina tells us the story of how she started writing music, the doubts, concerns and fantasies which come with any creative progress are managed to be compiled into a two and a half minute track which presents doubts but never succumbs to them as Nina dismisses them at every instance of the chorus:

‘I can’t really sing good, but I’m still gonna try it’.

‘It sounds like me and my computer hangin’ out until late. ’

Having been born at the turn of the millennium, with a very similar baggage of experiences as those presented in the album, this work feels particularly special.

There once were long nights, carried by heavy eyes attached to a computer screen on which the machine was, not only the gateway for anything you could dream of, but a sincere confidant. The one partner you could hold on to when the world outside didn’t make that much sense. The one who introduced you to a field of potential friendships and interests that would have been impossible to flourish in any other previous time.

Knowing this was a shared experience, whether in Argentina, Australia, Japan, or anywhere else in the world, never fails to bring a candid caress to my heart.

With her debut album, Ninajiraichi has managed to create a piece that acknowledges a culture that now mostly exists in memories and fading digital spaces. And, in doing so, she has made herself a staple of this culture. Just as much as the wires, keyboards, screens, and posters presented on her album’s cover art.

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