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Hey everyone! It’s always a thrill when I get the chance to chat with someone who’s been at the forefront of electronic music for decades. Today, I’m sitting down with none other than Scott Ferguson, the mastermind behind ROBOT84. From spinning vinyl in the 90s to creating dancefloor anthems that have captivated the scene, Scott’s journey is as inspiring as it is extensive. As we dive into his creative process, recent releases, and the challenges he’s faced, you’ll get a glimpse into the mind of an artist who’s truly seen it all. Let’s get into it!
I kind of fell into production in the 90s. I’d been DJing for a while and always felt the pull of the studio so my good mate Gordon (Blackbeard) and I decided to try and create something together. That’s basically where it all started, a bit trial and error to be honest! It worked out ok, and I’ve never stopped creating since. I love to do it, and regardless of sales, I will always create. My format for building a tune has not changed much in that time. Technology-wise, things have changed massively; you don’t need analogue keyboards, rack units, effect units etc. They’re are all plug-ins these days, which are convenient, but they don’t have the same sound quality and depth as analogue. However, that’s a topic we could talk about all day.
The overall music scene is a different world from where I came from. I find that the scene today can be as much about the social media than the music itself, but that’s the world we live in and I’m not sure that the two can ever be separated – there is a lot of good, though as well, being able to reach people and discoverability is always a good thing. Dance music is so varied now, its roots are the sounds of disco, northern soul, and the 4/4 beat. That’s what kept dancers dancing, and I do feel, in ways, the soul and rhythm are a bit lost in much of electronic music today. It’s a lot about the big bangers and sometimes that feels soulless to me. I always try to create a tune with something about it (even if it is a ‘banger’), I have an idea but where I visualise it being played and by whom comes together in the process. Along with that, I always aim to create a sound that can last. I want somebody to be able to listen to it in 10 or 20 years, and it not sound dated; perhaps that’s a bit of cliche, but that’s the aim – a timeless sound. For me, a tune that stands the test of time is a big part of what is great about it.
Some of my tunes come together in pieces or sections, and without loads of drafts, I may do a fair amount of tweaking, but generally, I know what it’s supposed to sound like already in my head. But this one evolved from about 10 drafts over as many years – the original sample is a record I’ve always loved and wanted to do something with. It’s one of my longer-term projects, for sure! Sometimes, that’s just how it works, I work on something, and then it goes back into the vaults for a while until the timing feels right. Following my previous release Cosmic Accident, the time felt right for this one.
I have been very lucky to come across many amazing producers in Glasgow and Edinburgh while being involved with both shops. I learnt a lot from my peers back then; I was always asking questions about production and sampling, and absorbing it all. I was always intrigued about production and the first time I worked on a tune was back in ‘93. I was very young, didn’t have a clue about songs, arrangements or anything to be honest, but I was enthusiastic, I suppose! It’s a learning process and I’ve done a lot of learning – still do. I still run things by the same small circle of creators that I was learning from back in the day. I think you need to be able to do that.
I don’t think too much in terms of genre, maybe that comes from working in record shops. It opens up your mind to all different sounds. I think I’d go crazy if I just worked with one kind of sound. My influences come from everywhere and as a DJ I’ve played many different styles, of course also going to clubs and listening to other DJs over the years which has helped me discover my own kind of sound. The Balearic sound has always been in me. Again, it’s probably the DJs who I’ve been mostly influenced by as I was learning to DJ and going to clubs and that vibe is pretty open and I’ve been quite immersed in it from a young age.
It felt amazing! This is a DJ that I look up too, so for him to be playing it at a festival, I can only say I was lost for words. I had no idea how well it was doing until Pete Gooding contacted me and told me he had heard Greg Wilson play it at Bestival and how well it had gone down. I was well happy. Chuffed to say the very least.
Total uncertainty is the challenge, as well as general reach. It’s a bit of an experiment for me to do this at this point. But I just wanted to give it a try and see what happens. One of the big negatives with digital music is that as an artist, there’s little to no income, and a way to counterbalance that is to bring it ‘in-house’. But there’s a lot of work involved. I felt it was time to give it a go though. The feedback has been brilliant. Many great DJs are playing it, so we’ll see what happens.
Yes and no. I think if i was Djing more, I might be creating music for my own sets and how I like to play. But usually there is an idea or visualisation at the outset, but the audience or the setting comes into play further along the process. I can picture the tune, but it’s mostly once it’s come together that I have an idea of who might play it and where. But then again, it doesn’t always work like that either. Instinct plays a big part, and my instinct can be strongest at varying points of the process. If I go into the studio too intentional, like “I’m going to make a dancefloor banger today”, 9 times out of 10 it doesn’t work out.
I mean, it’s the biggest nod of approval. DJ Harvey has always been a big inspiration to me, so when he plays my tunes it blows my mind. I could never be complacent about it. And that’s the same with the Horse Meat Disco guys, they’re bloody brilliant – It makes me feel like I must be doing something right!
It has completely turned my world upside down. I went from being fit, healthy and ‘normal’ to feeling like a baby. I had to learn to walk again, and simple tasks like tying my shoelaces and getting dressed were all over the place for a good few months. It was like everything you take for granted had been taken from me. It’s been one hell of a journey, and I still don’t have any sensation in my left arm, hand or leg, as well as some cognitive issues which affect me daily. I work hard on my recovery though; I’ve improved a lot so I am always positive about the future.
My wife helps me with so much of the admin that goes with my music because I still get very mixed up. I sadly can’t DJ like I used to, I have a lot of cognitive issues around planning and processing, so those skills have taken a bit of a battering. At first I felt like I’d never DJ again, but I am determined to get back behind the decks someday.
I am in a positive situation though. My stroke was a big one, so it could have been much worse, but I have recovered well and that’s what’s important. The music has been a lifeline, I’ve had such great feedback over the past couple of years that it really does keep me going. I’m lucky in that my motivation and creative ideas haven’t been damaged, I’ve been able to immerse myself in getting my music out there and maintaining a presence in the industry while I recover.
I use my position to talk a lot about my stroke on social media, and I’ll shout about it from the rooftops if I have to! I feel it’s my duty. Sadly, a stroke is life-changing for many, and that’s not just the survivor but their family, too. It’s important people know about it.
Like I said, it’s been a lifeline. The music is the motivator that has kept me going, and it’s undoubtedly helping my health. I have been constantly making and releasing music for the last 20 years or so, and that’s alongside my day job as a chef, so it’s what I do. But, it’s worth noting that the tracks were already created before the stroke. I just hadn’t done anything with them yet. For example, Get It Right Next Time’, was finished in the studio a month or so prior, and then after my stroke, along with some well-timed encouragement from DJ Kelvin Andrews, I got to work promoting it. This actually started from my hospital bed in Gran Canaria…and it was my wife doing a lot of that on my behalf. We muddled through!
Music is what I love, and it made sense to immerse myself in the thing I love. Before my stroke, I often played records, and when I got home after being in hospital for so long I was eager to do things that felt like me again. It was then I realised I couldn’t mix records, I was devastated. That’s the sad thing about having a stroke, it has meant that I don’t always feel like myself, as I am still getting used to my damaged brain. Music has helped me a lot though, and I’d be lost without it. I still play my records and I listen to a lot online too. I’d advise anyone with a health struggle to go to the things you love, whatever they are, find a new way to enjoy them if you can, as they’re part of what makes you, you.
It’s made me braver, that’s for sure. I have always found that the hardest part about creating a tune is finishing it and being ok with it. I’m sure a lot of producers would agree with me; like me, they could have have two, three albums worth of music sitting on their computers, finished or unfinished, and simply not doing anything with it. That can be a hard barrier to get over, not so hard these days as it feels life is too short to hold things back.
One of the things I did, together with my wife, once I was out of hospital was to go through all this stuff I’ve got on file. I had to accept that I wasn’t going to manage being in the studio for a session anytime soon so she helped me to make the best of the situation and it’s paid off and kept me busy and motivated. So, whether the actual creation side of things is flourishing, I’m yet to discover, but my drive and dedication have been boosted. All the Robot84 projects I’ve been sitting on and uncertain about are going to have their moment, that’s for sure. My advice to anyone holding back on anything is to just get it out there, don’t waste your talent and skills. My stroke has taught me that much.
It’s easy to forget things so this is a nice question to be asked.
Djing with legend Andrew Weatherall back in the day was a big thing for me and then remixing Fintribe’s 101 meant my name on the same record as Andrew which was a dream come true. Djing with the Balearic God, and sadly passed, Jose Padilla at Pikes in Ibiza was very special. He was the nicest guy, I remember he played a tune and I asked him what it was, he then handed me a CD with the tune and a bunch of other stuff and said I was to keep it, I still don’t know what the tunes are, but I will treasure that CD.
My tunes Make Me Feel Good, Futuro Disko and Dreams From The Far East getting played on Radio One by Annie Mac and other Radio One and Radio Six DJs was mindblowing. Who doesn’t want to get their tunes played on Radio One?
Djing at Hostal La Torre in Ibiza with Pete Gooding a few years back is a great memory and my ideal setting to play. My beautiful wife Samantha and son Josh, who was just a baby at the time were there so that one really sticks out. I feel very proud and blessed to have had opportunities like that where my family have enjoyed it too.
More recently, Get It Right Next Time making waves across Asia by Ibiza legend, Jon Sa Trinxa. I mentioned earlier that I promo’d that one from my hospital bed, so as you can imagine, I’m quite emotionally attached to it. It’s been played by loads of DJs, but it was Jon Sa Trinxa that got the ball rolling, I’m forever grateful to him. He’s a brilliant DJ and a real gent. And then video footage of the same track from DJ Frank Tope playing it at Glastonbury last year was also very special!
Overall, just being able to release music and it appreciated always makes me proud. I especially like releasing on vinyl, because it’s real and tangible, but in today’s world digital has many benefits too. I am very fortunate with my music, and I’ve done lots of things I’m very proud of, these days I need a little prompting to remember everything with my new brain, but luckily my memory hasn’t been impacted much.
It felt right to release it after Cosmic Accident. Like a I say, it’s one I’ve been holding back until the timing felt right. I was excited about it, I really love it so I just hoped it would go down as well as I felt it should. There’s always this uncertainty, but the feedback has been insane so all good so far. I hope it’s sparks up dancefloors as well as the feedback would suggest.
I have a pretty special vinyl release on a well-known Balearic label coming soon. It’s something a bit different to what I’ve been doing recently, so keep your eye out for that one. I may squeeze in another vinyl release this year, and if all goes well with Get Down 2024 I will release more on digital too. I hope to get back into the studio in early 2025 as my ideas book is full! Outside of the music, it’s more recovery. Stroke recovery is ongoing, I will probably be recovering for years to come, but that’s ok, I have the best family, friends and music of course, to be grateful for and keep me going.
Big thanks to Scott Ferguson for sharing his incredible journey and insights with us. Be sure to check out his latest track, “Get Down 2024,” a no-frills synth slammer that’s already making waves. Whether you’re a longtime fan or new to his sound, this is one you won’t want to miss. Head over to Bandcamp now to grab your copy and keep the dancefloors alive!
DJ | MUSIC CURATOR & SELECTOR | PODCAST MAKER | BLOGGER Professional online interpreneur. Coffee practitioner. Electronic music culture maven. Total music guru. Infuriatingly humble problem solver. Food & sports fanatic.
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