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The Aussies are coming! The Aussies are coming!

Well, it doesn't have quite the same ring as that other, more famous warning of impending attack upon these shores, but it is true that the island continent has been mounting an impressive musical offensive. From Men at Work to AC/DC, INXS to Divinyls, the bands of Oz have been leaving their mark with music that reflects the youth, vitality and social upheaval of a culture that's just beginning to feel and flex its muscle.

As yet, there is not a readily identifiable "Australian sound"; rather, the latest batch of records to surface from down under ranges from the brooding political discontent of Midnight Oil to the wry middle-class wit of Mental as Anything. There's also, one must note, some weak copycat New Wave on the sampler Maiden Australia and a barrage of experimental noise from Hunters and Collectors that's an acquired taste, at best. But by and large, there is an abundance of riches in these grooves.

Tim Finn is a good case in point. A multitalented singer, songwriter, piano player and guitarist, Finn is the de facto leader of Split Enz, the veteran New Zealand band from which he took brief leave to make Escapade, his first solo album. Alone, Finn is more accessible than the Enz, penning pop compositions that sparkle with deft, buoyant melodies without ever becoming cute Muzak. He's too much a composer for that–witness "In a Minor Key," in which voice and piano sketch in tandem a winsome romantic melancholy. More upbeat is "Through the Years," with its Fifties feel and an irresistible singalong chorus. Finn's boyish vocals fall in the high-timbre range of Billy Joel and Journey's Steve Perry, making him a rare item: a radio ready-made who isn't just scattering album-oriented-radio fodder.

Mental as Anything aspire to a similar ideal of apparent normalcy, but it's really just a facade, a camouflage for their lunatic's-eye view of the world. Creatures of Leisure, the Mentals' off-the-wall second U.S. release, is vaguely countryish with overtones of lounge psychedelia and contemporary power pop. It's eminently hummable and likable, and it goes down as easy as a pint of brew on a hot afternoon, which makes it easy to ignore, for example, the fact that "Spirit Got Lost" is sung from the point of view of a guy who's died in bed. The band boasts four strong songwriters, all of whom affect a bemused ennui at love's unfailing tendency to go awry–a timeless theme of American country & western that's complemented by the trebly strum and twang of the guitars and the Elvis Presley-style croon of the vocals. Creatures of Leisure, however, reaches beyond the bathos of garden-variety C&W to that rarefied plane of insight upon which human relations are revealed to be cosmic and mundane at the same time. And it closes with the sound of a suburban lawn being mowed, laying bare the irony of their charismatic calling as musicians