Imagine a world where a simple YouTube discovery sparks a musical revolution, catapulting a young artist into the global spotlight. That’s the story of Ninajirachi, whose journey from online exploration to ARIA-nominated sensation is nothing short of extraordinary. But here’s where it gets even more fascinating: her debut album, I Love My Computer, isn’t just a collection of tracks—it’s a deeply personal ode to the digital age, blending nostalgia, innovation, and a uniquely Australian voice. Now, with eight ARIA nominations under her belt and sold-out shows drawing rapturous crowds, Ninajirachi is proving that her rise is far from accidental.
Nina Wilson, the mastermind behind Ninajirachi, is savoring every moment of this whirlwind success. ‘I want to live in this headspace before moving on,’ she reflects. ‘It might be hard to come back to this time, and I don’t want to rush into the future.’ Released independently via NLV Records in August, I Love My Computer has earned international acclaim, including a five-star review from The Guardian. Its high-octane, innovative twist on 2010s EDM has positioned the 26-year-old as Australia’s next big dance export.
And this is the part most people miss: Ninajirachi’s success isn’t overnight. Since gaining prominence as a Triple J Unearthed High finalist in 2016 and 2017, Wilson has steadily built her audience through playful, floor-filling releases and electrifying sets at EDM festivals across the US. But the past three months have been a frenzy—relentless touring across the US and Australia, coveted slots at Coachella and Primavera, and a string of awards ahead of this Wednesday’s ARIAs, where she’s up for Album of the Year, Breakthrough Artist, and more.
I Love My Computer has already snagged Triple J’s Album of the Year and the prestigious Australian Music Prize (AMP), a $50,000 award inspired by the UK’s Mercury Prize. For Wilson, the AMP wasn’t just a financial lifeline after her two-month US tour but also validation of her vision. ‘I really wanted to make an Australian album,’ she explains. ‘I use my accent when I record, and there are lyrics that only I could write.’
Wilson’s sound is deeply rooted in Australian electronica, influenced by Flume’s glitches, Pnau’s irreverent house, and Wave Racer’s future bass—the latter even mixed I Love My Computer. Her music is a wonderfully bizarre grab-bag of sounds: crystalline synths, sirens, mechanical whirls, eurotrance, and obnoxious EDM drops, all woven into what she jokingly calls ‘girl EDM.’
The album is a collage of Wilson’s adolescence on the New South Wales Central Coast, blending banal and monumental memories. From references to Supré shorts and failed music assignments to nods to CSIRAC, the first computer in the world to play music, I Love My Computer is a time capsule of her formative years. But here’s the controversial part: while the album is deeply personal, its universal themes of childlike excitement and longing to connect with a bigger world resonate far beyond Australia. ‘Maybe that’s why people from different places and cultures have liked the songs,’ Wilson muses. ‘We all grew up on the internet together, whether we knew it or not.’
For Wilson, this album marks a new artistic frontier. Appearing on her album cover for the first time—hoodie sleeve covering half her face, surrounded by digital detritus in her childhood bedroom—she’s embracing vulnerability. ‘I didn’t have my voice on my music before,’ she admits. ‘It felt separate from me. I couldn’t have imagined getting to this point, being this comfortable being perceived.’
As she adjusts to bigger stages and brighter spotlights, Wilson remains grounded. ‘I’ve released music I love for so long, even if not many people paid attention,’ she says. ‘I just hope I can keep doing that.’
I Love My Computer is out now via NLV Records, and the ARIAs will stream live on Paramount+ from 5 PM this Wednesday. But here’s the question: In an era dominated by global trends, can an artist’s hyper-local voice truly resonate worldwide? Let us know what you think in the comments—we’re all ears!
