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The Handcuffs / Press

“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.”

“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. ”

“However you decide to consume 'em, The Handcuffs are definitely worth a taste of your time.”

“The Chicago rock ensemble returns with another album of consistently catchy hooks and throw-back appeal.”

AOL/Spinner.com Listening Party

"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!"

“Waiting For The Robot is their most ambitious effort yet”

Terrence Flamm - Illinois Entertainer

“REVIEW OF BLONDIE W/THE HANDCUFFS HOUSE OF BLUES, CHICAGO: 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.””

"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."

"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."

“On The Handcuffs' concert at Millenium Park: "[The Handcuffs] 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."”

"...They’ve gotten better and better. And better. And again this year, they’re even better...Their metier is solid songs. And how many solid songs can you have in you before you start repeating yourself? In the case of The Handcuffs, a bunch, apparently. ...Waiting for the Robot, like The Handcuffs’ previous two releases, is going to find its way into my year-end top 10."

"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

"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?'"

Tim Cain - The Herald & Review & heraldreview.com

"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

"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

"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

"We are crazy about your album. It's one of the best albums we've heard in a long time! It's THAT good!"

Razor & Di of the Razor & Di Show - WLUW Radio

"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

"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's Review - Download.com Editorial

"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

"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 - The Herald & Review

"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

"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