SPIN: One of the most promising new bands out there. Before long, they might have a chart-topping double LP on their hands. Think Spoon with a shot of simmered down Hot Hot Heat and a nod to the Yardbirds to boot. [Grade: A-] Or in other words, it sounds like Sophia Loren's stockings: E.g.,
NEW CITY, Chicago, 7/27/06: A dead on, mature trip through a psychedelic forest best heard in a head shop, this could be Chicago's next big band. (Lollapalooza)
JIM DEROGATIS, Chicago Sun-Times, 1/21/05: Appealingly jangly psychedelic/power-pop quartet that draws on the familiar influences of the Byrds and the Zombies but rises to the top of this always-overcrowded genre by virtue of its strong songwriting, Chris Frantisak's atmospheric keyboards and the swirling production of its 12-song album . . . evokes the Rain Parade's classic "Emergency Third Rail Power Trip."
BMI NEWS New York, 7/24/06: Friday begins at 11:15 a.m., and features Chicago-based band the Bon Mots-composers of sugar kissed pop music. Often compared to the Byrds and praised for vintage instrumentation, PopMatters.com cheers that the band mixes "witty lyrics and sly nods to the likes of Elvis Costello and Pavement," while AllMusic.com proclaims, "The Bon Mots just may be Chicago's best-kept secret."
DAILY HERALD: A 12-song gem . . . with many lush layers of pop sophistication. These are not straightforward tunes in the classic sense, but they remain tuneful, spiked by a range of heavily carbonated guitars. Intelligent and appealing just scratch the surface here.
JACK RABID, THE BIG TAKEOVER:This is the sort of ringing pop with great rhythm section work that stands out.
Richard Milne of WXRT Radio Chicago sayeth: "Le Main Drag" is one of the Top 5 Local Anesthetic albums for 2003.
Monica Kendrick, CHICAGO READER: Spot Check 11/14/03: Some mysterious alchemy is apparently at work. [T]he debut from the Bon Mots is pretty dazzling. It's a lush, mature, and audacious mix of heady guitar fizz and old-fashioned pop songwriting . . . . definitely worth keeping an eye on.
DAGGER (Portland) : I have never seen Chicago's THE BON MOTS live so basically all I have to go on is their one CD called LE MAIN DRAG, but man, what a CD it is! They take the best parts of late 80's New Zealand jangle (think Straightjacket Fits) and blend it into their own near-perfect stew.
AMPLIFIER: Defies any attempt to easily categorize them as mere revisionists . . .a skewered delivery, an atmospheric, heavily textured ambiance that makes their approach sound slightly somewhat aloof and less embraceable than those they're said to emulate. In that sense, they more accurately resemble bands like the Church and REM, groups that also draw on '60s references but often filter them through a hazy, psychedelic sheen. The droll vocals . . . contribute to this perception . . . there's an understated irony that frequently underscores their bittersweet melodies.
ALL MUSIC GUIDE: The Bon Mots just may be Chicago's best-kept secret. Coy's infectious "Glistening" opens the set with a well-plotted, upbeat pop song chronicling a fascination with cigarette-clutching supermodels. Giving way to Chial's Marshall Crenshaw-like pipes on "Nocturna'"; a lush, dreamy ode that explores the Mots' depth. And for each head bopping, hummable number like "Time Was" and "Under Wraps" that these Windy City cats bring forth, there's a hazy, jazzy "Get Heavy," or a dark, rumbling "Vultures" to cement just how dexterous these guys really are. Coy and Chial bring their game on Le Main Drag, resulting in a dozen keepers.
THE DAILY TEXAN (Austin) : Indie-pop freshness combined with warm jazzy methodology . . . a lot of their messages do not come pre-digested, but it does make for some flavorful analytical listening . . . though rhetorically eloquent, they help digest some of their heaviness with intelligent instrumentals. With the support of keyboardist Chris Frantisak, whose Wurlitzer skills are reminiscent of Billy Preston during his Beatles stint, and drummer Kevin Hoetger, who supplies wicked backbeat jazz flow. (4 and a half out of 5 stars)
MUNDANE SOUNDS: A great record from a fine band . . . their raison d'etre appears to be nothing more than to go out and have a fun time making sophisticated yet enjoyable pop. I can't fault them for that, and I don't. "Ghetto Falsetto" is just one of many really great songs.
MOVEMENT (Jacksonville, FLA) : The Bon Mots write really good pop music . . . the best thing musically to come out of Chicago since The Smashing Pumpkins. Let's hope the follow-up to "Le Main Drag" showcases even more of their spider-sense for creating a great pop song.
SPLENDID ZINE: The Bon Mots' brand of breathy pop is both hummable and mordant a rare trait, to be certain and that lethal combination tags them as one of the brightest stars on the pop frontier.
INDEPENDISC picks "le Main Drag" as its 2003 Disc of the Year: Line after line of lyrics we just want to quote back to people . . . reminds us of The Hollies crossed with The Jam and sprinkled over with a bit of Squeeze and Elvis Costello & The Attractions . . . lyrics that twist a sense of misery in a clever and witty fashion that makes more sense than the logic dictated to us as "normal." Normal is a drag, man.
JUST ADD NOISE: Playing a collection of vintage instruments that would make any collector drool, a truly retrospective study of pop influence is displayed here. The real highlight and main turning point of the record comes in the form of a loungy, sensual shuffle, "Get Heavy": "Took her to the bathroom for a little kiss / In a classic combination of innocence and filth."
INSOUND: An awesome guitar-pop record, with lotsa moogs and other kickass accoutrements, I get some luscious intersecting vibes. Like The Go-Betweens meets The Lucksmiths, The Zombies meets The Byrds, Rufus Wainwright and Joe Jackson, The Smiths meet Elephant 6, both the Matinee and Parasol rosters smushed together, plus a lovely nostalgic feeling that is as much powerhouse eighties college rock hookfest as it is seasoned sixties pop sensibilities.
BABY SUE: (Rating: 4+++) Extremely well executed upbeat pop with a difference. surprisingly unpretentious. The tunes have a nice, clean sound and feature some very imaginative melodies. Unlike many of their peers, these fellows don't wear dumb clothes and don't clutter their tunes with noise and weird sounds. Some of these tunes hearken back to the British pop from the 1980s. Pretty cool stuff.
METROLAND, NYC: The differences in Coy and Chial's writing styles reveal themselves after several listenings, the album flowing as a seamless whole. Chial's songs tend to have greater chordal complexity, while Coy's draw on exuberant grooves; Coy has immediacy to Chials subtlety. But those lines are not constant, and there is truly a band at work here, not a project for two songwriters. they are not revivalists in the slightest. Theyve absorbed their influences fully, bringing to mind a similarly inclined East Coast trio with two main writers, the Figgs. The arrangements are dynamic, flourishes are never superfluous. Inside the punch and wallop, the songs are built on potent melodic character. The singing is committed and the playing is rich and punchy. What more do you want or need?
SOUTH OF MAINSTREAM: I love it . . . their combination of pop sensibility, chop shop beats, gingerly sprinkled keyboards, thoughtful lyrics and swashbuckling vocals.
POP MATTERS: The Bon Mots certainly live up to their name on their debut album Le Main Drag. Mixing witty lyrics and sly nods to the likes of Elvis Costello and Pavement, their musical chemistry crosses the borders of '90s indie and '80s pop with a smarty-pants attitude.
MITCH SPEAKS: Part Badfinger, and yet somehow also part stinkfinger ("smelling in"), the Bon Mots' record release show at Subterranean this past Saturday nite, for their new one, "le Main Drag," put on a brave face in the face of the perfidiously French-knit hat-covered head of Chicago's slackerazi indie-rock scene.
BETTAWRECKONZINE: Even though two competing egos and minds are at work, Le Main Drag never feels like two separate albums Elmer-glued together and never approaches White Album territory. Both singers flourish, engulfed in the entire spectrum of spectacular pop music of the 60s, never fearing to unleash a psychedelic guitar solo or just coast along to Beatles-sans-the-facial-hair-esque pop.
TANKBOY: 1960's chimey guitar surfing over moog keys . . . on this stunning debut.
IMPACT PRESS: Chicago's Bon Mots reference decades worth of catchy guitar pop, touching on everything from the 60's sounds of the Kinks and the Zombies to the kiwi rock of New Zealand's Flying Nun label. Mike Coy and Eric Chial trade songwriting duties and vocals throughout the album, yet Le Main Drag retains a cohesive feel from start to finish. | 
