For more than four decades, Crowded House leader Neil Finn has been on an evolving, winding journey. Crowded House’s mid-Eighties hits like “Don’t Dream It’s Over” and “Something So Strong,” combined with albums like Woodface and Together Alone, set the standard for the period’s erudite jangle-pop while always pushing the band’s art forward.

That creative spirit brings Finn and his Crowded House bandmates to Gravity Stairs, their first new release since 2021’s Dreamers Are Waiting and eighth overall. Produced by the band with Steven Schram, the album shows Crowded House in its current incarnation — Finn, Nick Seymour, Mitchell Froom, and Finn’s sons Elroy and Liam — as sharp as ever, feeling musically adventurous, and still capable of reaching the staggering highs that have made them an international favorite. It’s the act of climbing those figurative “gravity stairs,” inspired by a heavy stone staircase near where Finn vacations, that he likens to his own mindset as a creator.

Finn’s résumé bears that out. From joining his brother Tim in the New Wave favorites Split Enz to leading Crowded House to his numerous solo efforts, Finn’s varied body of work is connected by his knack for penning meticulous, indelible melodies and impressionistic lyrics that demand multiple listens. It’s earned him devoted fans all over the globe, an Order of the British Empire honor, and induction into the Australian Recording Industry Association’s Hall of Fame.

“Magic Piano” marked one of the first songs the band — whose members currently reside in four different countries — attempted to work up in rehearsals ahead of their recording sessions for Gravity Stairs, which took place in Australia, New Zealand, and California. The second day they played it, it suddenly clicked.

Other songs on Gravity Stairs do that in the best possible way. There’s a hyper-melodic, Brit-pop quality to “Life’s Imitation,” which brims with sparkling vocal harmonies and a longing for connection. Finn imagined the song during the most isolated parts of the Covid lockdown, but instead of melancholy, it has a big, empathetic heart and hope to spare.

Themes of connection and love pop up in several places on Gravity Stairs. “All That I Can Ever Own” begins with a funky drum beat and shimmering keyboards as it examines impermanence through child rearing and property under threat by rising waters. By the time it reaches its conclusion, it’s arrived at something that sounds like jubilation. “There’s an awareness that you can’t really control the outcomes of what happens when you love someone,” Finn says. “Throughout your life there’s an element of letting go of anything other than the love you feel for somebody.”

Finn borrowed from his father’s war diary for “Some Greater Plan (for Claire),” drawing on a memory of a whirlwind romance in Italy for a melody that’s both seductive and emotional. “It was always a thing that came up. Dad would have this wistful look in his eye when he would talk about Italy,” Finn recalls. Finn’s brother Tim makes an appearance on the track, which is dedicated to a friend of Finn’s who’s no longer with us. Equally cinematic, the mysterious “Black Water, White Circle” peers through the world of dreams into the afterlife.

Gravity Stairs is bookended by a second song about the joys and agonies of creating. “Night Song” is almost like a waking dream, slipping into different rhythmic patterns and arrangements as it unfolds and following the siren call of creation through a scorpion-guarded desert landscape and out through desolate stretches of night. “Wish there was another way,” Finn sings, knowingly.

And as he has so many times before, Finn will make the decision to scale those gravity stairs yet again to see what awaits at the top.