Credit: NLV Records
I Love My Computer
[By: Ninajirachi]
Genre: Electro house, Hyperpop
Rating: 80
Cohesiveness: 71
Track quality: 75
Beginner-friendly? if you're fine with house
Written 2025/11/18
On her breakout record, Ninajirachi straddles the line between an intelligent meta-commentary and a self-aware, chronically-online comedy sketch.
"I Love My Computer": certainly something of a ridiculous branding gambit, but nonetheless undoubtedly effective. And that's not just in streaming numbers - though this is easily Nina's most successful work so far - but also in tying the album together as a cohesive product, packaged with all the digital synthwork and hyperpop aesthetic the title promises.
Something about "I Love My Computer" feels inherently online. Well, to put it like that is to understate it, because this is an album that exists seemingly as a byproduct of the most active corners of the internet, filled with cutesy stylistics and a tendency to lend itself to a Y2K revival. On top of that - as the title suggests - Nina strives for quite a risqué approach to the aesthetic, and the relationship she narrates throughout the record blurs the line between human and robot - often, it's unclear which one she refers to. As far as production goes, though, Ninajirachi opts for a powerful, driving electro house style, which she layers bright synth leads and a range of vocal ideas over, and for a record based in electro house, "I Love My Computer" finds itself surprisingly diverse: the crushing "CSIRAC"; the melodic "Infohazard; the downright provocative "Fuck My Computer"; or the vividly intense opener "London Song". But throughout, the consistent four-on-the-floor beat of electro house is the spirit of this album, and Nina's pressurized basslines are its flesh.
Alongside the bombastic Y2K culture the record is imbued with, though, is a surprisingly intimate persona. It's most wholly revealed in tracks like "Sing Good", or even "iPod Touch", but when "I Love My Computer" isn't being infectiously danceable, it's being deeply reflective. In particular, Nina reflects on her childhood and her past, often wistfully but veiled behind a screen of digital sound design. In fact, at times you could almost believe that the chaos of the record almost seems like a glimpse into the human spirit, overstimulated by an influx of exposure to technology - but then the bouncy pandemonium sweeps you up again, and you realise that "I Love My Computer", though reflective, was never meant to be particularly thought-provoking. Because, let's face it, Ninajirachi isn't some pretentious poet constructing their next superficially deep retrospective - this is an album that's unabashedly messy, amazingly well-produced, and proud of itself.
I don't think "I Love My Computer" does anything particularly groundbreaking. And it's just shy of 40 minutes, putting it tentatively on the shorter side of LPs. Yet the amount it achieves in that runtime is impressive, as one giant haphazard blender of internet aesthetic, fervent electro house, and hyperpop vocals, with a dash of emotion and a sprinkling of memeability as a final touch.
Listen on Spotify here.
London Song [Intense] | (/100)
Nina's vocals are well-sung and she chops them up nicely to fit the rhythm of the track. It's a track that's distinctly electro house, but with plenty of bass on it - and a complextro-esque sound design signature - and, paired with Nina's digital lyricism, "London Song" is a very strong opener.
iPod Touch [Upbeat] | (/100)
"iPod Touch" has the same rhythmic penchant as "London Song" but expressed in a very different style. Nina's vocal chops are much brighter and more cutesy, with her vocals being infectious and maintaining strong flow over the liquidy production - which does eventually make way for a driving house drop.
Fuck My Computer [Standout] | (/100)
Definitely the most provocative and lyrically bizarre track off this record, as a bold statement of the ridiculous nature of it - and yet the drop is unfathomably hard. "Fuck My Computer" carries on the house elements of the previous two, but it adds a destructive synth run over it, a sparkly obliteration of the sound scape that sounds equal parts metallic and glittery.
CSIRAC [Intense] | (/100)
Nina opts for a higher, more cutesy vocal that jitters through its verse with a fast-paced flow, and then moves into a powerful, reverberant techno drop. But when "CSIRAC" stops dead halfway through, it suddenly makes space for a complete twist into a much more distorted and amazingly creative ripper of a drop.
Delete [Upbeat] | (/100)
With a much more reflective lyrical tone, "Delete" feels more personal and intimate than the tracks before it. Perhaps it's a prelude to the second act of this album, but it still fits in this first act, with energetic, rich house drops peppered with old-school vocal chops.
ฅ^•ﻌ•^ฅ [Structural] | (/100)
Short and sweet interlude with a couple of great synth lines and a clean garage beat. Transitions well into "All I Am", but suffers as an independent track mainly from its short runtime.
All I Am [Upbeat] | (/100)
Triumphant track. At this point in the record, the house beats are getting a little old, and "All I Am" doesn't really make an effort to switch things up, but for the mood, it works very well.
Infohazard [Melodic] | (/100)
The songwriting on this track is particularly good, with the somewhat abstract, ethereal vocal and the slow buildup of tension. The mixdown is great as well - everything on this soundstage, in particular, has so much clarity of sound, and the layering is fantastic.
Battery Death [Standout] | (/100)
"Battery Death" opens quite normal, but somewhere along the way you realise that Nina's house and vocal is getting overwhelmed by an ulterior force - a force which comes to light in the second drop, in the form of a heavy dubstep/hybrid trap drop that spontaneously crashes the whole song.
Sing Good [Emotive] | (/100)
This is definitely the most open, emotive track on the record, and it takes a break from the euphoric house in favour of a more stripped-back pop cut of innocence and childhood.
It's You [Upbeat] | (/100)
w/ daine
Another energetic house tune overloaded with autotune. Not the most interesting off this record, though - I can't deny it's well-produced, but something about this formula has gotten a little repetitive. The vocals are still pretty good though.
All At Once [Standout] | (/100)
A particularly strange end to this album, "All At Once" lumps in the stylistic motifs of this album with heavy-handed basswork and proficient songwriting, with a longer runtime allowing for some progressive synths and a load of different great movements.
- iPod Touch (/100)
- CSIRAC (/100)
- Sing Good (/100)
- All At Once (/100)
- Battery Death (/100)
- London Song (/100)
- Fuck My Computer (/100)
- Infohazard (/100)
- Delete (/100)
- ฅ^•ﻌ•^ฅ (/100)
- It's You w/ daine (/100)
- All I Am (/100)