Nina Wilson was twelve years old, in a bedroom on Australia's Central Coast, when she typed a comment under a tie-dye shorts tutorial on YouTube asking what song was playing in the background. It wasn't about the shorts. It was Madeon's mashup "Pop Culture," and it cracked open a door she never really walked back out of. That's the origin point of Ninajirachi, and it's not a stretch to say her whole debut album is a love letter back to that exact moment, a twelve-year-old alone with a computer, finding the thing that was going to define her.
She started early and stayed self-taught. Two-time triple j Unearthed High finalist as a teenager, a debut single in 2017, then a run of EPs, Lapland, Blumiere, a 2021 collaboration with Kota Banks called True North, a mixtape, another EP called 4x4. In 2024 she released girl EDM, and the name stuck as a description of what she'd actually been building the whole time: hyper-melodic, feminine-coded electronic music built with the specific, personal detail of a diary entry rather than a festival anthem.
That specificity became the whole concept behind I Love My Computer, her debut full-length, released in August 2025 on Nina Las Vegas's NLV Records. It's a concept record about her relationship with her PC and the internet that raised her, tracks named after obsolete tech and childhood ephemera, jumping between trance, complextro, hyperpop, and speed garage without ever losing the thread. She's said flatly that all of her music is computer music, that it's her instrument, and that she isn't sure who she'd be without it. Critics across the board came back with some of the strongest scores an Australian electronic debut has pulled in years, and the album peaked at number 12 on the ARIA chart, a rare showing for something this uncompromising.
Then the awards started stacking up. Eight ARIA nominations, the most of any artist that year, with three wins. The Australian Music Prize, effectively the country's album-of-the-year honor voted on artistic merit rather than sales. A J Award. A second-place finish in the Vanda & Young Global Songwriting Competition for "iPod Touch," a track she's described as being about the exact feeling of stumbling into music built for her, secretly, before anyone she knew shared the taste. By the time the 2026 AIR Awards nominations came around in May, both Ninajirachi and her label were up for honors again.
The live side of the story moved just as fast. She played Coachella in April, then Primavera Sound over the summer, then her first headlining run through North America, a tour that kept getting rebooked into bigger rooms as it sold through. She's talked about how disorienting it was the first time she played a proper American EDM festival, having grown up without that scale of production back home. Wasserman Music picked her up for touring in February, the kind of signing that usually means an artist's calendar is about to get a lot more crowded. None of this reads like a flash in the pan. It reads like an artist whose most interesting work is still ahead of her, which is exactly the kind of story worth catching now rather than after the fact.
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