I like trying to make electronic music as a hobby, and I totally agree with your thoughts about just intonation. There's no reason to not at least try it once if you're making electronic music. I personally find it does often produce results that sound better or more interesting to me; chords and intervals are definitely (by definition and subjectively) more consonant and "pure".
However, not only must one adjust the tuning each time you want to switch keys, just intonation actually doesn't work for all intervals even within a single key: https://music.stackexchange.com/a/22017. This is something I often don't see mentioned.
If you're programming the music entirely in software, you could avoid this by basically forgetting about the notion of notes/pitch classes/scales/keys entirely and focus solely on the frequencies and ratios. I wouldn't be surprised if a lot of the best music of the distant future is partly created in such a way (by humans, AIs, and/or both working together). But if you're working in a DAW, the best option may be to consider a few intervals off-limits, if you want everything to be pure.
Regarding the "D-minor problem", the way I look at it is that problem is not with just intonation per se, but with how C major is defined and how it is used in equal temperament vs JI.
The probelm is solved in JI by re-defining the key of C major to include both 10:9 and 9:8. So, instead of one D, you have two slightly different Ds.
Equal temperament just uses a note almost half way in between to play the role of both notes, but that's just an approximation. (This double-role can be useful for certain chord progressions that work out in equal temperament even though mathematically they shouldn't.)
JI definitely becomes a lot more useful and interesting if you allow for more than 12 notes per octave. I'd consider 16 to be about a reasonable minimum for conventional 5-limit music, but having more opens up more possibilities.
In the context of the original article which seemed to be geared more to just implementing some sort of basic sequencer or picking random notes from a scale, I think picking notes from a JI scale rather than 12-tone equal temperament is an easy way to do something different from what everyone else does with a good chance of having a result that sounds good. More serious music composition or performance in JI generally requires more awareness of the various quirks of JI versus equal temperament. I do wish tooling was better; in some ways, MIDI kind of locked everyone into 12-tone equal temperament, and getting out of that rut is going to require some kind of large change. (MPE and Midi-2.0 are possibilities; time will tell if they pan out.)
Something that works rather well is taking ratios a/b with, say, a and b in the range 2 through 10, and then changing a or b by a small amount and avoiding a=b. You get some nice harmonies if you have multiple of these running simultaneously in a few octaves.
However, not only must one adjust the tuning each time you want to switch keys, just intonation actually doesn't work for all intervals even within a single key: https://music.stackexchange.com/a/22017. This is something I often don't see mentioned.
If you're programming the music entirely in software, you could avoid this by basically forgetting about the notion of notes/pitch classes/scales/keys entirely and focus solely on the frequencies and ratios. I wouldn't be surprised if a lot of the best music of the distant future is partly created in such a way (by humans, AIs, and/or both working together). But if you're working in a DAW, the best option may be to consider a few intervals off-limits, if you want everything to be pure.