It has been many, many years since a debut dance project blew me away. The last time I heard an electronic debut that really blew me was ISOxo & Knock2’s project niteharts, and it’s still the best bass house & trap project I’ve heard even though I think that’s technically an EP? The itch we’re scratching today is for anyone that ever wanted a Crystal Castles song at 160 bpm, Snow Strippers to somehow go harder, anyone that likes those wild drops Porter fixes into his live sets, or anyone that has argued The Devil’s Den is Skrillex’s best song.

I Love My Computer was released on August 8th, 2025, and is my favorite dance album released this decade. It combines the off-the-wall no-rules attitude of Second Nature with the song structure & heavy synths of girl EDM. Each of these songs has so much fun, joy, and happiness packed into them you’ll find yourself giggling on repeated listens. The opener, London Song is really a soft and calm opening for what’s coming, and even that’s a hard nosed electro tune.

The second song on here, iPod Touch, is one of the greatest dance songs I’ve ever heard. It’s perfect. I cannot believe how good it is. It’s impossible. I’ve yearned to hear this song my entire life. The vocal sample, the verse, perfect transition into the chorus, the bridge, the roaring bass, it’s perfect. After the bridge, the floor gets taken out and you get blasted with shoegaze-like synths and somehow she managed to pop a kick over it that you can hear clear as day. I do not understand how it is possible to sound like this nor how all of the heavy melodies make this tune feel so open vs. claustrophobic. It’s a miracle, and it’s the type of tune that reminds you it’s incredible to be alive. Also, this music video? C’mon.

Somehow that 3 minutes and 16 seconds of audio bliss perfectly transitions into a full-on audio assault on I Love My Computer. Once again, the music video is all-time, but it is age restricted. I’m not gonna dig into the lyrical content, but rather I am going to be left in confusion how a bubblegum pop tune has a drop & melody that sound like a classic Slander song with a house beat. It’s an engineering marvel to hear something like this.

CSIRAC follows that, and it’s simply an absolute banger. Who needs those flying choruses or harmonizing verses when you can make the bass growl? The energy is so ungodly high it’s hard to imagine a comedown, yet the transition leads directly to that. “Then came the noise…” is so haunting it scratches an itch I didn’t know I had.

Delete is the 5th song on here, and it is one of the greatest dance tunes I have ever heard. It’s a pop single about posting a thirst trap w/ your crush’s favorite song playing over it, and deleting it after hoping they see it. It strikes deep, and reminds about the ease of disposing culture, whether it’s songs, albums, trends, clothes, or even our own pictures. There’s also an innate feeling where a performance is forced, where such directly intentful actions are forever glossed over by an intended audience. You know the vibes, where you also force apologies when you’ve done nothing wrong. Outside of all that and the deep intrinsic nature of yearning & performing, the second verse’s melody is so entrancing it reminds me of hundreds of other songs. I turned into Anton Ego eating ratatouille hearing it, remembering all those years blasting early Porter Robinson, Zedd, and Skrillex’s more vocal songs.

“ฅ^•ﻌ•^ฅ” is the 6th song. It’s 1 minute long, and it is perfect prelude to All I Am, going back into our electro bag. There’s a chorus over the melody, and by the time the full tune shows it’s colors it’s glitzy, glammy, and gorgeous. There’s a feeling of a climax from Cat Face into it, especially with how it’s one of the fullest realizations of the harmonic & melodic electroclash Nina so clearly adores. In another world it’s a Snow Strippers song, or as one of my homies said, “if Crystal Castles ever made a good song.” I’ve linked the video below, but I really… really recommend you listen to the album transition from Cat Face into it.

Infohazard and Battery Death are both full-on EDM tunes, full of surprises on the first few listens. Throw either on at the function and have your friends ask you “ayo who is this?” A note about algorithms, Infohazard has the most views on Youtube, but like the 5th/6th on Spotify. It’s always interesting to see that dynamic, but the tune itself is a borderline progressive house song with a 2+ minute build.

Sing Good is as close to a ballad an album like this can have. It’s vulnerable, and it brings some of the history of how Nina got into making music like this. There’s a story about how Nina didn’t really play instruments or sing that well, but knew how to use a computer (I know some of you can relate). While her instructors & peers didn’t quite understand what or how garage band was, but even still she hopes they like the songs. It’s a love letter to making music for the sake of it, rather than making it with the intention of having people listen. It also juxtaposes how insanely vulnerable all of the lyrical content on the rest of the project is, especially with tunes like Delete.

Our last two songs are It’s You and All At Once. The former reminds me of pre-golden era club Tiesto, writing love melodies that deserve to be sung out of a car driving through the city. All At Once is a 5 minute long epic where the conventional rules are completely thrown out of the window and she’s sampling her own songs from earlier in the album. it’s trappy, it teleported me back to early Odesza with the drums, and it ends with a full blown audio assault. Sensational.

Albums like I Love My Computer are rare. Electronic albums that are capable of being vulnerable, knowing the perfect time to let us fly along with the melody, and capturing the pure joy of dance music are so full of passion not many compare. There are two songs on here I’ve desired to hear my entire life. It’s the culmination of brostep, tech house, electroclash, and the futuristic PC Music sound all thrown into the blender, saved on an external hard drive, and then given a full beat. The hyper specific itch this sound scratches isn’t matched by anything else, where the verses and choruses are so choc-full of sugar & dopamine and the melodies are so filthy & disgusting. It’s for the nerds’ nerd, that’s fallen asleep modifying kicks in Ableton, changing time signatures in FL Studio for the sake of it, anyone that was tapped into the launchpad trend of the early 2010s, or anyone that’s had to divide 174 by 2 on the fly.

There’s a lot of magic in the internet culture music videos too. If you’re like me, and had unregulated access from 2000 to 2008, it molded your brain in a way that not much else can. Forums, microcommunities, and online cultural noise from that era seldom gets turned into audio. I Love My Computer taps so deeply into my nostalgia of a consolidated internet, the happiness of hearing a song with 700 views that you loved, and pays so much homage to internet music. It’s a once in a lifetime album, and I cannot wait to see the North American tour transpire (Cambridge 🫡). She’s also primed for a massive year with a collab w/ Allison Wonderland coming.

You should buy this album. If you don’t, you should somehow find a way to see her on tour even with these sold out dates.