Banquet - Darling

Banquet Darling

NOW
self-released; 2026

TOP ALBUM

By Jamie Funk
​

Banquet Darling is the recording project of Todd Kilby, a Muloobinba/Newcastle musician who previously worked internationally as a circus acrobat and director. His second album, NOW, follows 2021’s Dreamlove Obscura and brings together punk, disco, indie pop and psychedelia. I enjoyed how freely Kilby moves between these styles, with strong bass lines and catchy hooks giving the album a sense of continuity. Its playful mood leaves room for some affecting, intimate songs, too.

“Morning Sun” opens with a straightforward take on punk, softened by electronics and a more spacious arrangement. There’s something of the Sex Pistols in its simplicity, though the mood is considerably mellower and more upbeat. It gives the album an accessible start without laying out everything that follows. The punk influence recedes on “Shivers and Echoes,” which reminded me of Gorillaz. I loved this one, especially the bass line, which gives the song much of its character. That early shift establishes just how much variety Kilby can accommodate within a couple of songs.

“The Getaway” is an early highlight. I heard Talking Heads in its rhythmic approach, alongside a clear affection for ’70s disco. The hook is immediate, and the song sounds ready for a crowded room. I particularly enjoyed how naturally those influences fit together; the result is an enthusiastic party song. “Dynamite Daddy” adds fuzz before “Gone” brings a warmer, more intimate mood. That change of pace gives the album’s sentimental side an effective introduction.

“Last Duet” combines a strong groove with psychedelic passages, and I loved the vocals. “Morning Star” returns to the record’s more openly optimistic mood; I enjoyed its lyrics as much as its catchy melody. “Fake Gold” makes another persuasive case for paying attention to the rhythm section. I especially liked the breakdowns, and the bass is excellent here again. These songs give the middle of the album plenty of appeal, with the arrangements offering as much to enjoy as the hooks.

“Coeval Faux Pas” and “Alchemical Bodies” keep the run going, though “Other Room” supplies the more affecting moment in this stretch. Its warmth recalls “Gone,” reinforcing how well Kilby handles a more tender song. “On The Road” then closes the album on an upbeat note that feels right after everything preceding it.

​NOW moves comfortably among its influences, helped by Kilby’s consistent feel for hooks and rhythm. I loved the grooves, and I enjoyed the playfulness and positivity that run through the album. Its moving moments give that enthusiasm more substance. I came away impressed by how naturally Kilby makes room for both.

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