With her 2015 album Supermoon, the Bern-based singer-songwriter went from being a Swiss insider’s secret to a star of an indie-folk scene that also counts Laura Marling and Feist among its maverick female protagonists. Hunger’s success led to a move to Berlin, which brought her into closer contact with electronic music in general and with analogue synthesizers in particular. By Molecules (2018), she had swapped the guitar, blues harp and piano for a drum computer and software, while her charming quadrilingual combination of English, French, German and Swiss German had made way for monolingual English.
Die-hard fans may lament this change, but the new sound makes sense in a world in which the vocabulary of the folk-poet is no longer made up of bones, blood and birds, but rather of plastic, plutonium and particles. The sound, which Hunger herself describes as “minimal electronic folk”, may now feature certain echoes of Berghain, but it remains faithful to the melancholic beauty that was always a defining feature of her work.