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THE GOOD STUFF, BABY
Mainstream media, new-school blogs, old-school zines, and a few quotes from friends (some more well-known than others).

BREAKING PRESS:

A great interview/article about our fearless drummer Brad Elvis. Check it out here: thebestdrummerintheworld.com

A live review: Broken Hearted Toy: "No Problem with The Handcuffs" (Live Review from Northalsted Market Days Festival)

Another live review: ChicagoConcertGoers.com: Live Review from the Beat Kitchen

ARTICLES AND REVIEWS FOR "WAITING FOR THE ROBOT" PLUS LIVE

"Alright, let's get right to the point here, this is a great album. It's a stripped-down DIY take on alt-glam with the breakout track - instant party song all-time classic - Everybody Waves Hello being the crown jewel in a sack bursting full of gems. Essential."
--Eric Petersen, RUST Magazine
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"New album "Waiting for the Robot" (out in September, so get your order in now) showcases their loud, fun crashing, bashing pop mayhem. While Ting Ting comparisons are obvious, there's a songwriting craftsmanship in tracks such as "Miss You On Tuesday" that is timeless and classy. Chloe F. Orwell is a sultry singer and the creative talents of drummer and chief writer Brad Elvis, have given her a platform from which to take off, fly and swoop with abandon."
--Carl J, Leicester Bangs, U.K.
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"The Handcuffs are one of the few bands capable of effectively combining the spontaneity and musicianship of glam/punk with the urgency and rough-edged sound of garage rock. Waiting for the Robot contains 13 manic cuts which sets the instruments on a wild collision course behind the rhythm sections backbeat by injecting unexpected subtleties that gives more impact to the hyperactive guitars counterpoint. A solid, frenzied album guaranteed to keep listeners on their toes!"
--Phil Rainone, JerseyBeat
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"However you decide to consume 'em, The Handcuffs are definitely worth a taste of your time."
--Jim Kopeny, Editor, Arts & Entertainment, Chicagoist

(Read the entire review HERE.)
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"Many of the tracks on Waiting for the Robot are piano-centric and a few sport some tasty horn charts, but there's a sexy, swaggering street vibe throughout."
--Bill Kopp, MUSOSCRIBE

(Read the entire review HERE.)
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"Waiting For The Robot is their most ambitious effort yet."
--Terrence Flamm, Illinois Entertainer/Broken Hearted Toy

(Read the entire review HERE.)
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"The Chicago rock ensemble returns with another album of consistently catchy hooks and throw-back appeal."
--AOL/Spinner.com Listening Party
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REVIEW OF BLONDIE W/THE HANDCUFFS:
"Chicago's coed indie rock band The Handcuffs proved to be a potent opening act, drawing heavily from their impressive third CD Waiting For The Robot, which had been released just the day before. Entertaining a crowd that's eager to see a legend like Blondie is always a challenge, but the Chloe F. Orwell/Brad Elvis-led group succeeded with energetic and melodic fare like 'Miss You On Tuesday' and 'Dirty Glitter.'"
--Terrence Flamm, Illinois Entertainer

(Read the entire review HERE.)
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"Chicago-based [duo] The Handcuffs are on a mission to relegate the omnipotent R&B sound to the margins of your musical life with a style and energy that'll take your breath away. 'Baby I Love You' sounds like a duet between Lou Reed and the Ting Tings' Katie White. It's so cool it gotta wear shades. 'Dirty Glitter' is a dirty, sleazy slice of glam rock that sounds like an epistle from Suzie Quatro. Miss You On Tuesday starts off like the Electric Prunes before morphing into a track that sounds like Blondie covering a long lost track from Sgt Peppers. It's garage rock with a classic twist and as catchy as a baseball mitt soaked in super glue. You just can't escape the hold of the Handcuffs."
--Editor, The Devil Has the Best Tuna, U.K.

(Read the entire review HERE.)
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"Overall, Waiting for the Robot is an outstanding offering from The Handcuffs, and any fan of glam or pop or rock or a combination of the three will find this thing irresistible. Listen to it twice through and you'll have more than one favorite new song."
--Kevin Triebsch, Atlanta Examiner

(Read the entire review HERE.)
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"Drums lead: Handcuffs break out from the traditional styles of music: There aren't a great number of musical groups for whom the drummer is the prime creative force. But there aren't many bands like The Handcuffs, either."
--Tim Cain, Entertainment Editor, Herald & Review

(Read the entire article HERE.)
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"To the listener, 'Waiting For The Robot' will feel less like an album project and more like a collection of great 45's. If I asked you to listen to 'Dirty Glitter' and 'Come On Venus' without telling you anything about them, you'd have a hard time telling me what decade they were recorded in. They sound as if they could be vintage singles that were given a nice remastering job, or they might have been recorded yesterday. It's this attention to reverence of the past, without sounding obnoxiously retro, that really grabs my ear. Other tunes that jumped out at me for immediate repeat plays include 'Everybody Waves Hello' and 'I'm So Happy That You're Out Of My Life.' In them, you'll find hooks-a-plenty."
--Dan Pavelich, Quick Spins, Kenosha News
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"They've gotten better and better. And better. And again this year, they're even better...What I heard was more fantastic three- and four-minute pop songs. There's a little more emphasis on piano on a handful of tracks this time around, and a couple of the songs go off in delightful and unexpectedly weird directions."
--Tim Cain, Entertainment Editor (from his blog), Herald & Review

(Read the entire article/review HERE.)
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THE HANDCUFFS, MILLENNIUM PARK CONCERT SERIES:
"They brought the rock and drowned out the rush hour traffic on Michigan Avenue that was only steps from the stage like they were looking to scrap with the city's skyscrapers."
--Dave Miller, Editor, Chicago Concert Goers


ARTICLES AND REVIEWS FOR "ELECTROLUV"

"Fronted by sultry vocalist Chloe F. Orwell and powered by irrepressible drummer Brad Elvis, the Handcuffs came together several years ago as a duo, forming from the ashes of the local power-pop band Big Hello and drawing on a range of glam and cool pop influences from David Bowie to Blondie to Britpop. The group eventually expanded to become a quartet with the addition of bassist Emily Togni and guitarist-keyboardist-multi-instrumentalist Ellis Clark, and at long last, they're celebrating the follow-up to their debut album 'Model for a Revolution' with the release of their new disc 'Electroluv.' Hot off a number of shows at the College Music Journal Conference in New York last month and riding the buzz created by the selection of the effervescent new song 'Gotta' Problem with Me?' for Margaret Cho's VH1 series, the band is celebrating with a record release show Friday at the Abbey Pub."
--Jim DeRogatis, Chicago Sun-Times
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"An immensely catchy and considerably glam pop-rock record that inserts its hooks into your brain and refuses to leave."
--Matt Pais, Chicago Tribune Red Eye

(Read the entire Red Eye article/interview HERE, where we talk about everything from our "airplay" on MTV to our favorite pizza place in Chicago.)
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"Like bread and butter, Brad Elvis and Chloe Orwell, of the Chicago-based band The Handcuffs, work together to spread peace, passion and the power of rock with their second album, Electroluv."
--Gretchen Gaskill, Amplifier Magazine
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"Not a bad tune in the litter, with the piano poundin' 'Half A Mind,' the dreamy 'Wonderful Life' and the kicky, bass-and-drum-heavy 'Baby Boombox' shining particularly brightly... Extremely highly recommended."
--John Borack, Goldmine Magazine
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"The band's new album, 'Electroluv,' is just out, and rocketed into my top 10 for the year...What I like best about this album is the songs are allowed to breathe."
--Tim Cain, Entertainment Editor, Herald & Review
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"The band's sophomore album 'Electroluv' continues the band's evolution as core 'Cuffs Brad Elvis and Chloe F. Orwell kick out teeth rattling pop tune after pop tune. Elvis' drumming is solid as ever and Orwell has finally found a voice all her own that she wields artfully. Bassist Emily Togni and multi-instrumentalist Ellis Clark build up and around that central foundation to populate an album that doesn't belong to any specific point in time. And, if you think of it, isn't that the goal of all really good pop music?"
--Jim Kopeny, Editor, Arts & Entertainment, Chicagoist (Rockin' Our Turntable)
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"Chicago's The Handcuffs release album, stay focused, remain lighthearted...oh, and get the BLURT nod of approval, too."
--Blurt's Best Kept Secret feature, Blurt Magazine
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"The songs on the CD range from the quirky, catchy as a terminal cold that you don't want to cure, 'Electroluv,' with its Lady Madonnaesque guitar/saxophone attack, to the breezy, optimistic anthem, 'Turn It Up,' to the punkified pop of 'Somebody Somewhere.' 'Electroluv' delivers a smorgasbord of rocking sounds including blazing guitars, fat bottomed bass, pianos, organs, flutes, saxophones, synthesizers, vibraphones and a Hammond B3 organ. And of course the icing on the smorgasbord is the signature sweltering, velvety hot sauce vocals from Chloe F. Orwell and the glue that holds it all together, the wall of sound drumming that sounds like a stampeding herd of a thousand arms battering away at the drum kit of Brad Elvis."
--Marty Wombacher, Natalie Word Magazine
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"Orwell sounds more like Debbie Harry on 'Electroluv,' walking the same line between coquettish and defiant, in a broad spectrum of styles. The new lineup includes guitarist/pianist Ellis Clark and bassist Emily Togni (although Canino and others contributed, and the resourceful Orwell adds synth, flute, sax, organ, vibraphone and guitar); the sound is less pure pop and more, dare it be said, adult. Brad's songs tend to cling to tag lines ('Half a Mind,' 'God Is Sure One Funny Girl,' 'I Just Wanna Be Free, Man,' the outstanding 'Gotta' Problem With Me?') in the choruses, but most of the ideas being ridden so hard are clever enough for it not to matter. The peppy 'Somebody Somewhere,' with distorted spoken vocals, is ferocious fun, while Orwell's 'Turn It Up' is another highlight."
--Ira Robbins, Editor in Chief, Trouser Press
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"This Chicago-based duo aim for Creature's sexy style, Ladytron's rock chops and the raw energy of the Yeah Yeah Yeahs."
--Scott Bryson, CHARTattack, Canada
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"Unlike some bands that settle for imitation, Elvis and Orwell know that the reason their influences sounded so good was because they kept trying new things. So they do the same. The result is yet another swell album."
--Michael Bennett, Hablo Ennui

(Read the entire review HERE.)


ARTICLES AND REVIEWS FOR "MODEL FOR A REVOLUTION"

"Smart and sassy, charming and even a little bit cerebral, 'Model for a Revolution' carries a tune with such a spring in its step tht you figure The Handcuffs must have stumbled across the same fountain of youth from which their forebears sipped."
--Kevin Bronson, Los Angeles Times
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"The debut CD from The Handcuffs roared its way into my eardrums with a push-pull, slinky-kinky feel that will put you into a Pulp Fiction state of mind."
--Marty Wombacher, Time Out New York
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"Chicago lounge perverts the Handcuffs bring a slinky sensibility to the musty garage genre. If Portishead were raised on a diet of Count Chocula and JG Ballard novels, they would probably sound like this. Conversely, if Blondie were weaned on Portishead, the results would be similar. Either way, the Handcuffs keep it smooth and deviant."
--Music Editor, download.com
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"The Handcuffs stand proud above the stagnant molasses of today's emasculated scene. Think pop, think power with a sprinkling of updated garbage and glam. 'All Shine on' is possibly their most beautiful song and performance yet... 'Can't Get The Girl' would be a great single - fantastic production...'Peggy Moffitt' is really bouncy and gorgeous, like my favourite ladies...Great song, performance and production...'Sex and Violins' is clever and fun with its tongue planted firmly between two cheeks - Stradivarius positions indeed! Excellent! 'First Class Bossa Nova' Somehow reminds me of Indiscreet period Sparks. 'Beg Me Beg Me' is nice and sleazy, but as always FUN - real catchy chorus. 'Jet Baby' could be another real contender for single status...The album hit rate is really good, the performance and production are spot on. It's really great to have them back."
--Robin Wills, PurePop Blog, U.K.
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"Great look, great sound, great album from one of my favorite drummers and company. If talent were the only requirement in this biz, The Handcuffs would be on top."
--Clem Burke, drummer for Blondie and member of the Rock and Roll Hall of Fame
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"Sex and Violins and Rock 'n Roll...is very good indeed. Handcuffed to Brad and Chloe for eternity! I'm their eternal groupie slave--and they're my cup of tea!"
--Cynthia Plaster Caster, artist/rock & roll legend
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"Brad and Chloe blow off a lot of the froth in a tougher but no less melodic approach, with guitars that hit harder and beats that mean more business...upping the ante all around makes the progression work as a respectable bid for chart potential. The noirish 'Car Crash,' which begins the album, is a clear standout, as are 'Beg Me Beg Me,' the quiet-verse/big-chorused 'Love Me All the Way' and 'Peggy Moffitt,' an ode to the '60s Rudy Gernreich mannequin ('a model for a revolution') who graces the CD cover."
--Ira Robbins, Editor in Chief, Trouser Press

(Note: *Big Hello refers to Brad Elvis and Chloe F. Orwell's previous music group that could be considered the precursor to The Handcuffs.)
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"Power-pop is one of those genres who's name seems to get thrown around a lot. As a result the phrase has lost a lot of its original meaning. The Handcuffs do their best to remedy that situation by adopting the power-pop mantle and then piping energy into their music until they induce aural hallucinations akin to a cascading fireworks display. After years of subtly shifting line-ups, the group, based around the core of singer Chloe F. Orwell and drummer Brad Elvis, have finally found what we believe is their strongest line-up to date. We saw them play a few weeks ago and were just blown away."
--Jim Kopeny, Chicagoist
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"We are crazy about this album. It's one of the best albums we've heard in a long time! It's THAT good!"
--DJs Razor & Di, The Razor and Die Show, WLUW-FM, Chicago
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"On their debut disc, 'Model for a Revolution,' Orwell continues to forge her reputation as this generation's Debby Harry, singing every tune with guts and a brazen quality."
--David Bash, Bucketfull of Brains, U.K.
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"This is a terrific debut for The Handcuffs. It's great to have Brad and Chloe back, and this album shows that they have many avenues to explore, and more than enough talent to make it worth following along with them."
--Mike Bennett, Fufkin.com
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"I always have time for The Handcuffs, and you should, too."
--Will Lee, Bassist for the CBS Orchestra, The "Late Show with David Letterman"
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"Not only are Brad and Chloe two of the coolest people I know, but their music brings me back to my favorite place, the Swinging Sixties - yet still manages to sound completely modern and unquestionably hip."
--Maureen Van Zandt, "Sopranos" star and stylist/choreographer for Little Steven's Underground Garage
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"The Handcuffs feature Brad Elvis, the coolest, showiest drummer you're ever going to see, and the gorgeous Chloe F. Orwell, whose voice will remind you of everyone while being unique to itself as well. There were a couple of times listening to the disc that I found myself laughing out loud with delight at what they were doing, and thinking, 'How is it possible that these guys can write SO MANY GOOD SONGS?' If I made my year-end list right now, this would be No. 3."
--Tim Cain, Entertainment Editor, Herald & Review
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"Remember when Top 40 radio played great music of all styles? Experience great taste in music: The Handcuffs are a rock 'n' roll band from the old school, when guitars, drums, pianos, synths and a punky singer all came together in the loving service of a great hook. Model for a Revolution is packed with great hooks, snarling guitars, Keith Moon drums and Riot Gurl vocals with two tablespoons of attitude and one teaspoon of sugar. Piano-driven All Shine On will stay in your head for days, and that's a good thing. Don't Be Afraid adds a psychedelic spice to the exotica. Jet Baby's airborne rock resolves into an unforeseen power pop coda, the perfect ending to a CD of revolutionary surprises."
--Mark McGowan, Free-lance Journalist
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"A great listen that fuses elements of various musical styles into a terrific album of modern rock. From the vibes in "Car Crash" to the flanged low-end keyboards in "Peggy Moffitt" (the namesake tune of the CD's cover model), the entire album stands as an awesome work by folks who really understand how to make great music."
--The Keester Blog
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"The Handcuffs: The darker, more rock 'n' roll side of Big Hello.* 'Jet Baby' is so damn catchy it's never going to get out of your head - ever. You'll wake in the night singing the lyrics, and people who've never heard of the band will find themselves wandering around humming the tune just 'cause they stood next to you in the supermarket queue... but thankfully it's fantastic enough not to drive you completely insane. My personal favourite would have to be 'Slut Machine' 'cause the lyrics are absolutely 'classic' to the point where I'm giggling with delight, and they're wrapped round a lovely, bouncy, out there tune with tons of drums and great guitar work."
--E. J. Stevens, Molly's Blog, U.K.

(editor's note: *Again, Big Hello refers to Brad Elvis and Chloe F. Orwell's previous music group that could be considered the precursor to The Handcuffs.)

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The Handcuffs

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