Caramel Carmela is an electronic/post-hardcore band that formed in Denver, CO in 2010. During that time, the band completed their debut, full-length album ‘Ominous Walrus’ with producer James Egbert (Blood On The Dance Floor, Kill Paradise) and their music began to catch on as fans came in droves, giving them the ammunition to expand beyond their local audience and begin touring. Their natural progression led them to their follow-up EP, titled ‘Skinny Jeans, Fat Bass’, which was written with the help of new guitarist Kyle Browning of Denver metal band, Drop Dead, Gorgeous.
In early 2014, Caramel Carmela toured the Midwest on the way to record their second full-length album, titled ‘Till Death Do Us Party’ with Grammy nominated producer, Matt Dalton at 37 Studios. (Joey Sturgis, Ma$e, Emmure, Crown The Empire) The music video for the title-track, 'Till Death Do us Party' premiered via Substream Magazine. As well, Under The Gun Review premiered the follow-up single 'Stardust', along with a streaming premiere of the complete album. Till Death Do Us Party is available now at most digital storefronts, including iTunes, Amazon & Spotify.
Caramel Carmela was chosen to play Denver Warped Tour in 2010 and 2012 among acts such as Of Mice & Men, Breathe Carolina and Taking Back Sunday. They played Global Dance Festival 2011 alongside artists such as Skrillex, LMFAO, and Kid Cudi. Caramel Carmela was chosen to open the Mountain dates of the Rock Yourself To Sleep tour with Dance Gavin Dance in 2012 and have opened for various touring bands, including Sleeping With Sirens and Finch. The band supported The Animal In Me and Consider Me Dead on The Smokin’ Aces Tour in 2015 and performed at SXSW 2015 in Austin, TX for music week. They have been featured in numerous magazines and reviews, online and in print.
Caramel Carmela is now working with Shawn Milke of Alesana and 307 Artist Management, based in Raleigh, NC. For business inquiries, contact email@example.com
“Till Death Do Us Party' is a vigorous statement of vocal superiority and is adamant in extending the life of a thought-shelved local genre of throat-addled comp-rock. The pleasure is in its variety, phasing around keen aggression and addictive hooks.” – The Rooster Magazine