FIOL music and sounds
DIY record label. violin music. genrefluid, maybe: folk, freefolk, new music? aims for: adventurous but not alienating, punk in spirit if not in style
sometimes referred to
as Fiol, Fiol Music, Fiol Rec. or (mistakenly) Fiol Records.
CONTACT
ingerhannisdal (at) gmail.com
Instagram
BandCamp
Most albums are available on CD, “Spove” and “To long, longing // Saltwater songs” are available on vinyl. To buy, contact us by email or go to our BandCamp page!
CONTACT
DIY record label. violin and other viols (and sometimes also none). genrefluid, maybe: folk, freefolk, new music? aims for: adventurous but not alienating, punk in spirit if not in style
Discography
Late-Stage (Inger Hannisdal/Ziad Moukarzel): Maybe I don’t believe in this anymore (2026)
Spove: Spove (2025)
Inger Hannisdal: To long, longing, I have longed for so long // Saltwater songs (2025)
Maouzoun: Maouzoun (2024)
Inger Hannisdal: Free Folk (2023)
LISTEN:
Maybe I don't believe in this anymore by Late-Stage, Ziad Moukarzel, Inger Hannisda
Spove by Spove, Nawara Alnaddaf, Silje Risdal Liahagen, Inger Hannisdal, Adrian Myh
To long, longing, I have longed for so long // Saltwater songs by Inger Hannisdal
Maouzoun by Maouzoun, Shble Saleem, Inger Hannisdal, Ellen-Martine Gismervik, Marianna Sangita Angeletaki Røe
Free Folk by Inger Hannisdal
FIOL music and sound
Lebanese-Norwegian electroacoustic duo Late-Stage is Inger Hannisdal on violins and Ziad Moukarzel on modular synths. First formed in Beirut in 2022, their debut album «Maybe I don’t believe in this anymore» mixes disorganized grooves with ambient noise and freefolk. Recorded in March-April 2024 in tandem with the duo’s performance at Irtijal Festival, Maybe I don’t believe in this anymore makes a soundtrack to lives in transit, and to the construction and decay and chaotic randomness of life in the city: a kind of night music for restless people.
Ziad Moukarzel is a sound producer, musician and live electronics artist, and co-founder of the Beirut Synthesizer Center. He specializes in creating immersive acoustic environments and otherworldly soundscapes, and does sound design for theater and installation. His work has gained international recognition with solo features at The Listening Biennial 2021 and the Gangwon International Triennale 2021.
Violinist and composer-performer Inger Hannisdal bridges experimental music and free improvisation with folk traditions both from Norwegian and Arabic music. Based between Oslo and Beirut, she frequently performs as a soloist, with her own ensemble, and in various collaborative projects and constellations.
released July 31, 2026
released July 31, 2026
All tracks recorded at Tunefork Studios by Fadi Tabbal, except tracks 1 and 5, which were recorded by Late-Stage at Moukarzel’s studio.
Mixed by Fadi Tabbal
Mastered by Ziad Moukarzel.
All tracks composed and performed by Ziad Moukarzel (modular synths on all tracks) and Inger Hannisdal (violin on 4 and 6, octave violin on all other tracks).
Produced by Late-Stage (Inger Hannisdal and Ziad Moukarzel.
Cover art by Karen Keyrouz.
It's a long way from Hallingdal to Syria.
If you're driving from Ål to Homs, there are 4,788 kilometers to cross before you arrive. But the musicians in the quartet Spove, who are releasing their first album in October, find that in folk music, the two places are close. The four musicians discover echoes and reflections in each other’s melodies, in a spontaneous and uncurated cultural encounter that is as much about human connection and friendship as it is about research into traditional music. Folk singers Silje Risdal Liahagen and Nawara Alnaddaf sing in each other’s native languages, while Inger Hannisdal on fiddle has one foot in each tradition. Together with Adrian Myhr on double bass, they weave Norwegian and Syrian folk music into a wondrous patchwork unafraid to show the seams.
Nawara Alnaddaf – vocals, oud, nay, lyre
Silje Risdal Liahagen – vocals
Inger Hannisdal – fiddle, octave fiddle, Hardanger fiddle, daf
Adrian Myhr – double bass
released October 24, 2025
«Nu lukker seg mitt øye»: melody by Gunnlaug Lien Myhr and lyrics by Peter Thun Foersom; «Bayati»: melody by Nawara Alnaddaf; «Vilje og vind»: lyrics and melody by Inger Hannisdal.
"Nu står jeg på min reise her" and "Ved deg min Jesus" is learned from Gunnlaug Lien Myhr. The latter is a religious folk song from Hallingdal, written down by Catharinus Elling. "Bånsull" translates to lullaby. This lullaby is called "No må vesle barnet sova". Lyrics and melody by Oline (Lina) Kittilsdtr. Lien, Ål (1891 - 1972) "Kveldssang" is after Anne Olsdtr. Gaptjern, Flå (1883 - 1979)
All arrangements by Spove (Inger Hannisdal/Nawar Alnaddaf/Silje Risdal Liahagen/Adrian Myhr)
Nawar Alnaddaf: vocals on 1, 2, 3, 4, 5, 6, 7, 9, oud on 1, 2, 4, 5, 6, nyatiti on 3, nay on 8; Silje Risdal Liahagen: vocals on 1, 2, 3, 4, 5, 6, 9, 10; Inger Hannisdal: violin on 1, 2, 3, 7, octave violin on 5, 8, 9, 10, hardanger fiddle on 6, daf on 4; Adrian Myhr: double bass on all tracks except 10
Produced by Inger Hannisdal and Spove
Recorded and mixed by Marcus Forsgren in Studio Paradiso
Mastered by Christian Obermayer at Strype Audio
Cover by Karen Keyrouz
The fourth album and second solo by Norwegian composer-performer and violinist Inger Hannisdal, «To long, longing, I have longed for so long // Saltwater Songs» is about longing: about separation and belonging, distance and alienation, and the hope to come back and to see again the people you miss, safe and prosperous.
The music was written mostly in the autumn of 2024, at a time marked by both personal and geopolitical grief. Using in parts extended techniques and preparations on the violin, «To long, longing…» is still more melody-oriented than Hannisdal’s previous experimental works, and unlike her previous solo album, “Free Folk” from 2023, it features overdubs. Those were recorded on cassette tapes using a Tascam 414 Portastudio from the 1990s, which Hannisdal brought with her to Lebanon, where the album was recorded.
Musically, “To long, longing…” reflects Hannisdal’s Norwegian roots as well as her long-standing connection to Arabic music, audible both in quarter-tonal melodies, and more subtly through ways of phrasing and building a melody. Rather than imitating its sound, the music is composed within a logic guided by musical thought from the Middle East - an idea fundamental in Hannisdal’s particular musical language, where Arabic musical influences are leading - hegemonic, if you feel like being a little Gramscian - and structure the music.
All tracks performed by Inger Hannisdal (violin on all tracks, hardanger fiddle on 10, Tascam 414 portastudio and cassettes on 1, 3, 4, 6, 8, 9, 10)
Recorded and mixed by Fadi Tabbal at Tunefork Studios, Beirut. Mastered by Christian Obermayer, Strype Audio, Oslo.
All cassette tapes were recorded at Ziad Moukarzel and Anthony Tawil’s studio in Ashrafieh, except 10, recorded at home in Oslo.
Produced by Inger Hannisdal and Fadi Tabbal
All tracks written by Inger Hannisdal, except track 4 which also contains in parts a reworking of the muwashaha «Jalla man qad sawarak» جل من قد صورك, composer unknown but often attributed to Omar al Batsh (Aleppo, 1885-1950).
Cover by Karen Keyrouz
Formed in Norway by Syrian oud player Shble Saleem and Norwegian violinist Inger Hannisdal, Maouzoun موزون (Arabic: metered, with rhythm, balanced) explore forms and techniques from classical Arabic music, in new compositions that reflect both Arabic musical traditions and the sounds of a cosmopolitan Oslo. The album is on one hand a microcosmos of a globalized world, where people bring their music with them when they cross borders and continents, exchange, teach and absorb new influences - while also staying faithful to tradition. But it is also a dialogue between Saleem and Hannisdal over their shared love for classical Arabic music, coming from different backgrounds.
The main inspiration for the music on «Maouzoun» is the instrumental music of Egyptian oud-player Mohamad Qasabji and Syrian violinist Sami El Shawa, whose melodies and compositions would open into taqasim, improvisations on the maqam. But while Hannisdal and Saleem both base their compositions on forms and rhythms from Arabic music, they also reference modern influences and even Norwegian folk music. As an interpretation of styles and techniques that belong to the Middle East, the music ends up reflecting the time and place of its creation as much as its origins. Thus, the... more
released October 15, 2024
Oud: Shble Saleem
Violin: Inger Hannisdal
Cello: Ellen-Martine Gismervik
Percussion: Marianna Sangita Angeletaki Røe
Recorded by Eivind Hannisdal
Mix and master by Cato Langnes
Cover by Inger Hannisdal
Track 1, 2, 8, 9, 11 composed by Shble Saleem. Track 4, 6, 10, 12 composed by Inger Hannisdal. Track 3 and 5 composed by Inger Hannisdal and Shble Saleem. Track 7 composed by Ellen-Martine Gismervik.
All tracks recorded at Tøyenkirka, Oslo 08.11.2023, except track 7 and 9 recorded at Modushuset 09.11.2023
Produced by Inger Hannisdal
"On Free Folk, Norwegian violinist Inger Hannisdal plays solo melodies – often inspired by Nordic folk song – but using an instrument that has been prepared with assorted clips, which create metallic effects, forced harmonics and ghostly percussive textures." - John Lewis, The Guardian, 02.06.23credits
released June 2, 2023
Inger Hannisdal: violin, compositions
Mixed and mastered by Cato Langnes, NOTAM
Cover artwork: Karen Keyrouz