If Body Type’s debut record “Everything Is Dangerous But Nothing's Surprising” (2022) was an exuberant and furious declaration of dominion, then their swift follow-up “Expired Candy” is all about reveling in the space they’ve carved out. This is a euphoric, lawless rock record, characterised by unfaltering intensity. Oceanic yearning mixes with sly humour. Guitars spit and swell and slice through harmonies. Moments of elation and bizarre imagery are wrung from the monotony of every day. Vocals knot together, producing ecstatic, slanted melodies. “Expired Candy” is an album about not being so certain that confinement and desolation lead to a dead end. Instead, stagnation may serve as the perfect breeding ground for joyous bewilderment and an inflamed imagination. Like the stale confection of its title, “Expired Candy” contains sweetness, but is also acidic, strange, tough, and undeniable in its jagged pleasures.
 
The album was written over two years, some of which saw the band (comprised of Sophie McComish, Annabel Blackman, Cecil Coleman and Georgia Wilkinson-Derums) separated during the pandemic, with bits of songs passed back and forth across strict state borders. The production of the album, meanwhile, occurred quickly, with the majority of the recording sandwiched between a recent national tour with indie-rock icons The Pixies. They collaborated again with Jonathan Boulet, who recorded and mastered the record.

Since the release of their much-anticipated debut record, the band has amassed further acclaim. “Everything Is Dangerous But Nothing's Surprising” has been shortlisted for the prestigious Australian Music Prize and was nominated for ‘Record of the Year’ at the FBI Smac Awards. They have played in support of Fontaines D.C, Wolf Alice and The Pixies, the latter of which involved performances at the Opera House steps in Sydney.