The Mix 065: Theo Kottis

Just over a year ago, Theo Kottis made his debut on revered Dutch label Dekmantel with ‘Lighthouse’, a four-track EP that would set into motion a breakthrough moment in his career. Despite having worked behind the scenes for close to a decade, this release felt like a pivotal one for the Edinburgh-born, London-based artist; its rolling, groove-inflected basslines and ‘90s-inspired electro stylings made it a standout release in the lead-up to festival season. It marked the beginning of a “creative reset” for Theo, entering a new era of his sound that, in his own words, feels “matured” after years of experimentation.

Since refreshing his approach to production, Theo Kottis has has the bit between his teeth, releasing on “dream” labels – from Fuse London to Palms Trax’s CWPT, to his newest outing on fabric Originals – and soon, he’ll be returning to Dekmantel with a follow-up to 2024’s acclaimed ‘Lighthouse’ EP. In September, he’s due to release ‘Blue Supermoon', a record that has pushed him in new directions with his sound while referencing the elements that made ‘Lighthouse’ tick.

Elsewhere, Theo has also launched his own club night and brand, named theoracle, in light of “stress, confusion, or seriousness” in the music industry – a project he describes as a way to bring “positivity and direction to building a community around club shows with a fresh approach”. The club night, which first launched at London’s Number 90 Hideout in June, promises cheaper and more accessible tickets than your average party with earlier opening and closing times, while supporting local venues and up-and-coming talent.

We sat down with Theo Kottis to chat about the launch of theoracle, prioritising health and wellness, and how he’s pivoting in his creative process. He also delivers a no-frills mix inspired by the abiding energy of a sun-drenched festival season. Check it out below.

You said that you had a “creative reset” last year and that you’re now heading in a new direction with your sound and creative output. Can you talk us through that?

I’ve been producing for 10 years, so naturally my sound has evolved over time. But last year was the first time I really felt in my flow and true to myself by leaning into a more underground vibe. My early productions reflected where I was at the time – I was still learning and experimenting a lot with production, figuring things out. Over time, some of that older material started to feel hard to shake, so I wanted to be intentional about drawing a line underneath it and moving forward. Pivoting is always a risk, so I’m really grateful that 'Lighthouse' resonated with artists and listeners, giving me the confidence to trust this new direction. It helped me establish a sound I’m excited to be known for – you’ll hear the Roland 303 and UK-influenced elements running through the tracks I’ve released on Fuse and fabric, as well as what’s coming up on Dekmantel.

You have a new record landing this month on fabric Records, ‘Drone’ – an EP that you said was “shaped by a little personal reflection” and “creative momentum”. What kind of sounds are you exploring on that, and how did it come together?

Creative momentum often builds when there’s a sense of acceptance and appreciation – something that’s not always easy to find in this industry. 'Lighthouse' put me on the radar of dream labels like fabric and Fuse, which was incredible. At the same time, it challenged me to carry this newer sound forward while fitting with the identity of such respected platforms. The 'Drone' EP reflects that tension and growth. Sonically, it’s heavily influenced by breaks and UK dub sounds, with a strong focus on detail – especially in the percussion. I spent a lot of time perfecting the textures and groove to get everything just right. There’s definitely some personal reflection baked into the EP, but it’s also about forward momentum creatively – it came together during a period when I was pushing myself while learning to trust my instincts more.

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You’ve just launched a series of club nights, named theoracle, bringing a “fresh approach” to nightlife. Can you tell us about that?

It’s not exactly groundbreaking for a DJ to start a club night, but at a time when so many venues are closing, it definitely felt like a bold move. As much as I love festivals – whether playing or attending – I’ve been really saddened to see the loss of intimate spaces that have hosted some of my favourite gigs. I launched theoracle to make the most of exciting local venues and showcase artists, especially DJs who are also great producers. The name comes from a nickname I picked up over the years – in moments of stress or seriousness, I’d sometimes drop one-liners that brought calm or lightness. So I was dubbed ‘The Oracle’, a play on my name Theo, a nod to my Greek roots, and a reflection of the energy I try to bring: positivity and direction.

You said that theoracle began as a way of bringing positivity to a club scene that is currently hard hit – how are you doing that? What can we expect from theoracle parties going forward?

I love that more people are focusing on health and wellness, it’s been a big priority for me, too, but I don’t think that has to come at the expense of clubbing. I’m trying to approach these nights in a way that lets people do both: testing earlier start times, keeping things local and partnering with spaces that people actually want to spend time in. I’m working with minimal budgets, but I’m committed to supporting other artists as much as I can. The line-ups will always focus on genuine talent and artists who are serious about their craft, not just names that shift tickets. The goal is to create a space that feels good, sounds good, and supports the culture in a sustainable way.

You hinted that theoracle might expand beyond just club nights in the future – what else do you have in store?

Hopefully this is just the beginning. It won’t happen overnight, but I’d love to grow the brand to the point where I can release my own music and the productions of other up-and-coming artists. I know everyone’s trying to build their own community right now, but I’d love for theoracle to become known as a space where people can discover a thoughtfully curated collection of tracks, artists and ideas.

Can you tell us about your video series, ‘Running With…’, that you launched earlier this year?

Running has been my lifeline for years, primarily for my mental health, but it’s a real source of enjoyment and challenge for me. I began taking it seriously and running marathons – during my training blocks I wouldn’t be drinking and I'd be avoiding late nights, which meant I felt like I was missing out on forming connections with other artists. I wanted to come up with a way to spend time with DJs, promoters, etc. outside of clubs and festivals, so I began asking people to run with me as a way of catching up. Simultaneously, I’d also got my hands on a 360-degree camera and wanted to use it for some kind of content, so it seemed like the perfect opportunity. It’s been great to see people so up for it, and I’ve had some really good conversations about life; our health, the industry, our goals. It’s been fun filming with the likes of Samuel Deep, Archie Hamilton, Niks, and others. I’d always thought nothing bonds you like the sesh, but actually a 5km comes pretty close!

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After your 2023 breakout on Dekmantel – which was a pretty huge moment for you – you’re returning to the label later this year. What can we expect from that?

Hopefully another pretty huge moment – on the dancefloors at least! My second EP, 'Blue Supermoon', drops in September and carries a similar energy to 'Lighthouse', it's perfect for summer festivals. I’ve already heard it played out by the likes of Batu, Call Super and Francesco Del Garda, so I’m taking that as a good sign. Working with Dekmantel has been a really positive challenge. They have high standards and pushed me to match the impact of 'Lighthouse', which meant sending over a lot of demos before we landed on the final three tracks. This EP also features a remix by Spray, which I’m really excited about.

What’s up next for you?

This has been a year of releases for me – I love being in the studio and as I mentioned earlier, I’ve really felt in my flow. But now, my focus is shifting toward building my touring calendar. I’m looking forward to a big Q4 on the gig circuit, both in the UK and abroad, setting the tone for 2026.

One show I’m especially excited about is Junction 2 at the end of the month, where I’ll be playing back-to-back with Ryan Elliott. We’ve got great chemistry behind the decks and it’s always a highlight. I’ll also be playing the fabric afterparty solo, which should be special in its own right. Outside of that, I’ll be continuing to grow theoracle, experimenting further in the studio, and lining up a few more back-to-backs with artists I really rate.

Can you tell us about your mix?

I recorded this just a few days after getting back from Glastonbury, so I was still riding that post-festival wave of energy. I had those sunny, late-afternoon slots in mind – when the vibe starts building and everyone’s locked into the groove. It’s a straight-up, no-nonsense mix with longer blends and a few tracks that have become staples in my peak-time sets.

'Drone' by Theo Kottis is out on July 11 via fabric Originals, pre-order it here

Gemma Ross is Mixmag's Assistant Editor, follow her on Twitter

Tracklist:
Revivis - Fruition 
Andrew Azara - Cosmic Girl
M-High - Same Routine (Wodda Remix)
Job De Jong - Dub House (Kepler Remix)
Swoose - Vapor Cone
Annette Taylor - Faith (Sunkids Filter Dub)
Aguila - Dress 2 Sweat (Original Mix)
Yesca - Are They Staring at Me? (Original Mix)
Dismantle - Untitled Shuffle
BufoBufo - Cinnabar 
Primitive Needs - Sleazy Peasy (Christopher Ledger Remix) 
Boss Priester - No Exceptions (Original Mix) 
Mance - The Going Is Rough
ADMNTi - Second Hand Sushi
Big Ever - Minted
Theo Kottis - Drone
Babylon X - Hyper Love II