Powderfinger - Internationalist (1998)

MORE alive and vibrant and less measured and over-thought than their later albums, Internationalist is Powderfinger's most daring and exciting record. From political kiss-off The Day You Come to ball-tearing rocker Don't Wanna Be Left Out, Internationalist is an album of many shades that helped them cross over from Triple J sweethearts to a mainstream success. The aptly named horn-attack of Belter, the upbeat jangle of Adelaide tribute Hindley Street and high-tempo rocker Good Day Ray are among the highlights on an album with no lowlights.

The Living End - The Living End (1998)

A PERFECT mix of punk and rockabilly (aka psychobilly), The Living End were the ultimate fists-in-the-air band of the late '90s for rebellious teens. Led by Chris Cheney's thrilling guitar-work and Scott Owen's double bass antics, their debut double A-side Second Solution/Prisoner Of Society was a call to arms and putting both tracks on the album meant it sold like the proverbial (it spent almost a year on the charts). It didn't hurt that there were singles galore on the record, including the Clash-on-steroids battle cry West End Riot, blistering punk-rocker Save The Day and the nostalgic ska-punk lament All Torn Down.

The Vines - Highly Evolved (2002)

A BRASH mix of snotty punk attitude and gorgeous psychedelic pop, this album signalled The Vines had arrived in a big way. Sounding like the bastard children of The Beatles and Nirvana, The Vines had come up with a sound that captured the garage-rock revival of the time yet every song sounded instantly classic. Outtathaway, Get Free and the title track burst out of the speakers with near-chaotic energy, while Autumn Shade, Country Yard, Homesick and Mary Jane showed they were capable of real beauty as well.

Custard - Loverama (1999)

CUSTARD'S swansong is a fitting farewell to one of Australia's most joyously quirky bands. With Dave McCormack's alt-cabaret frontman show in full flight, the band crafted 14 delightfully fun pop tunes and managed to pen a few hits along the way. Hit Song, about the woes of competing with a corporate music machine that can purchase manufactured pop hits, was an ironic success, but the biggest winner was the disco-rock of Girls Like That (Don't Go For Guys For Us). Alternative radio also dug the summery singalong of The New Matthew, the electro weirdness of Monkey and the party favourite Ringo (I Feel Like...).