Hallelujah the Hills made a quadruple album and then some.

The Boston band’s “Deck” rolls out over four LPs of 13 songs each that correspond with playing card suits, plus two bonus tracks serving as jokers.

“This was made in defiance of every trend in the music business,” band leader Ryan Walsh told the Herald.

The release formats are just as creative: “Diamonds” is available as a double LP, all four albums can be found as digital downloads, then there’s a physical deck of cards with art for each song by Walsh (that comes with download codes).

The whole thing is sprawling, wild, fun, overwhelming, and awesome. Ahead of Hallelujah the Hills’ Saturday release show at Medford’s Deep Cuts, Walsh dealt a hand to the Herald.

“Gimmie Midnight” (Ace of Diamonds)

“Diamonds” is sort of the album within the album. It’s almost the followup to the band’s most-celebrated album 2019’s “I’m You.” And “Gimmie Midnight,” which was written very early in the “Deck” process, sets the scene: a haunting, lonely guitar line, a thumping drum and acceleration of volume, the gang chant of “Oooh, gimme midnight sick of the light, gimme midnight,” a wonderful cacophony.

“It was a great opening salvo,” Walsh said. “An indication that, like at the beginning of a movie or a novel, the character in the song isn’t doing great.”

It’s a dark song for dark times. Bonus thunder clap: Morphine member Dana Colley’s always ominous baritone sax.

“Classic of the Genre” (Queen of Hearts)

“Hearts” is the most obvious. It’s about heartbreak and heart blooms. But it takes a while for love to bud on the record with a lot of fractured relationships leading to the queen.

“This is a song about what it’s like to fall in love,” Walsh said. “But definitely not the first time you fall in love. It’s about finding new love, that’s the spirit of the thing.”

Like many of the songs on “Hearts,” “Classic of the Genre” is a sparse ballad — vocal, guitar, a little bit of bass, piano, and singing saw (yes, singing saw). But it has a welcome hope to it, an unbelievable tenderness, buoyed by a tiny spoken word part from Sabine Hrechdakian (“Well, honey, who says we haven’t already arrived?”).

“FugaziBlackHoleMirage” (Seven of Clubs)

Hallelujah the Hills have always been a punk band, at least in the 1977 CBGB sense (Patti Smith, Ramones, Talking Heads, Television). “Clubs” digs into that energy. “FugaziBlackHoleMirage” exemplifies that energy. ‘Nuff said.

“The Feeling is Mine” (Six of Spades)

Hallelujah the Hills are masters of the clattering, droning, propulsive and hypnotic crescendo — “Hassle Magnet” anyone? “Spades” is where you’ll find a lot of that clattering and droning. It’s where the band stuffed a lot of the really weird songs. “The Feeling is Mine” is the band in full crescendo mode.

“I was thinking about songs like Talking Heads’ ‘I Zimbra,’ where there is no main vocalist and there is just this group chanting the whole time,” Walsh said.

The morning after the 2024 election, Walsh tried to salvage the day by making some art.

With most of “The Feeling is Mine” finished, he filled the spaces between chants with what he says can’t even be called guitar solos.

Although you can call them guitar solos so long as you know you’re listening to “Spades.”

“Actual Title, Untitled” (Joker 2)

At the end of a session, with a few minutes left, the band told the producer to roll tape and just improvised. What came out was a glorious seven minute mess. An instrumental, like the other joker, “Actual Title, Untitled” is in the public domain. The band decided not to copyright it, waived their rights to the work, and made it a true wild card. They encourage others to add lyrics, rewrite, edit, or completely transform the tracks.

For more details, visit hallelujahthehills.com