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Carlo Toma


Carlo Toma


Carlo Toma


At only 21 years of age, Carlo Toma is already on the cusp of something rather rare and special in electronic music. Being able to produce house music that straddles the genre boundaries is no easy task, yet it’s one that Toma has pulled off with consummate ease, all the time maintaining an unquestionable artistic credibility. Few producers then, are as adept at appealing to both discerning and more commercial inclined markets. Carlo Toma however, is not your everyday producer.

Born and raised in Lecce, Southern Italy, Carlo’s infatuation with all things electronic music started at the tender age of 14 when he bought his first set of decks. By the age of 16, he was already playing in some of Italy’s most renowned clubs such as Selento, Guendalina, Casablanca and Living Club. It was these formative experiences – added with the inspiration he derived from artists such as DJ Sneak, Reboot, SIS and Michel Cleis – that propelled his talents toward the production field. After early releases on esteemed Italian labels such as Express Yourself and Plusbeat, it wouldn’t be long before Toma’s name soon gained recognition outside of his native country.

His first big break however, came when his track “Back to Panorama’s Love”, arrived in the hands of ViVa records boss Steve Lawler. Lawler promptly signed the track to the label, and in little time it was already earning repeated plays from the likes of Pete Tong, Riva Starr, Tim Green and more.

Sure enough, more productions soon followed, with the interest garnered from the ViVa release compounded by more quality-strewn releases on other seminal imprints such as Defected In the House, Quanticman, Cr2 and indeed, compatriot Riva Starr’s Snatch! imprint. With another series of high-profile remixes and productions in the pipeline for 2013 (including EPs on Metroklang, a remix for Nima Gorji and a debut album on Amazing Music), it’s not hard to understand why the whispers surrounding Carlo Toma’s prodigious talents – both in the DJ booth and behind the production desk – have to be heard to be believed.