Morris Audio.
For the club. And for home.
Stefan Riesen on Scott Fitzgerald’s Running on Fumes, records that stay fresh, and trusting his own judgement after more than 25 years of Morris Audio.
Stefan Riesen
A demo that does not quite fit a familiar pattern on first listen: that is where the story of Scott Fitzgerald’s Running on Fumes begins for Stefan Riesen. The EP leads our conversation towards a broader question: what holds a label together musically when it moves between House, Tech-House and Acid? At Morris Audio, the answer is closely tied to listening for yourself, and to music that has something to offer beyond the club.
Morris Audio is a label based in Bern, releasing music since 2000. The first 100 Morris Audio releases and the first 55 editions of its Citysport series came out on vinyl. Stefan Riesen answered this written interview in October 2026. Scott Fitzgerald’s Running on Fumes is announced on the official Bandcamp page for 30 October 2026; the EP features the title track, Drum Hustle and Above the Clouds.
A demo that sparks curiosity
How did you discover Scott Fitzgerald? What stood out when you first heard Running on Fumes that made you want to release it on Morris Audio?
In the classic way, really. Scott sent me a demo that immediately made a positive impression because it was not quite the “usual” House sound. There was a lot to discover, and different musical influences and styles began to emerge.
I am always curious about demos from newcomers, and with Scott it was a good fit.
More than club weapons
Your announcement highlights the less obvious House grooves. How can you tell that a track will remain interesting after repeated listens? Is there a detail or a record in which you keep discovering something new?
Morris Audio covers a fairly broad range of styles, from classic House through more minimal Tech-House to Acid. When the label started in the early 2000s, the slogan was “For your club and home entertainment”. I still take that aspect into account.
Often, the tracks have a slightly broader scope and are more than just “club weapons”. I cannot think of one particular record, because I am now at release number 141! But it always makes me happy to pull out old records today and find that some of them still sound fresh after more than 20 years.
The love of music has always been, and still is, at the heart of the label!
Trusting your own taste
Morris Audio has been around since 2000. What decision would you make differently as a label owner today, and where do you still trust your first instinct just as much?
I would not do anything differently, because the love of music has always been, and still is, at the heart of the label! If it were purely about sales, I would certainly have to focus more consistently on what is “marketable” and push one style more heavily.
But then as now, I either think a track is great and would like to release it, or it does not particularly speak to me, and nothing comes of it.
The format changes, the standards stay
Your catalogue has a long history on vinyl. How has working with records shaped your idea of a good release? Do you think differently about selection and sequencing when music is released mainly digitally?
Releasing vinyl takes more time and, above all, more money. You might think three times about whether you really want to press a record and whether you can absorb a financial loss if necessary.
But the same expectations apply to digital releases: good tunes, meaning music I like, and a certain individuality in the music. Just because digital costs less and circulates quickly does not mean there is no quality control.
With so many digital releases, it is becoming increasingly difficult for music enthusiasts to keep an overview. That makes a label’s commitment to quality important.
A platform for moving forward
You have worked with many artists over the years. What helps a first release become an ongoing exchange? Is there an encounter that illustrates this particularly well?
With many people, you are on the same musical wavelength without having known each other for a long time. I think you should take every artist seriously and offer a good platform for getting their name out there and developing further.
That includes simple things such as choosing tracks together, promoting the release, making connections with other labels, or helping to initiate remixes or gigs.
I cannot point to one specific encounter. But it makes me happy to see that some artists from earlier days are still around and have established themselves as leading producers: Iron Curtis, Shaka and Huxley, for example, as well as remixers such as Steve Bug or Detroit Swindle, now Dam Swindle, to name just a few.
Morris Audio
Interview by email · Editorial and image art direction: SCENE:ID. Morris Audio · Bildgestaltung: SCENE:ID · Bild: Morris Audio