B-Side Guys

Certain songs feel like intercepted communications from alternate realities. Hallelujah The Hills’ “It’s Undeniable,” released five days ago, operates as precisely this kind of transmission—a “Rube Goldberg device of a song” that transforms scattered fragments into hypnotic inevitability. As the opening salvo from their ambitious 52-song DECK project, the track functions less as traditional single and more as proof of concept for organized chaos.

Ryan H. Walsh’s lyrical approach here abandons conventional narrative for something closer to found poetry or overheard conversations. “Great plains!/Branded son!/Sage bush! Lightning seed!” arrives as compressed Americana, each phrase carrying maximum cultural weight through minimal syllables. This telegraphic delivery creates space for listeners to construct meaning from fragments, making the song feel simultaneously familiar and alien.

The track’s most remarkable innovation lies in what Walsh calls the “world’s first ‘Live Podcast Song Overdub’”—voices from the Who Charted? podcast with Howard Kremer and Brett Morris woven into the mix. This isn’t mere novelty but genuine expansion of collaborative possibility, transforming casual conversation into architectural element. The inclusion creates additional layer of reality within an already densely layered composition.

Niani Campbell’s contribution to the gang vocals demonstrates how Hallelujah The Hills have mastered the art of collective voice without losing individual identity. When the chorus erupts into “It’s undeniable” repetitions, each voice maintains distinct character while serving the larger chant-like effect. This balance reflects the band’s broader aesthetic philosophy—maximum individual expression within carefully structured group dynamics.

The production work at Rare Signals and Crooked Horse Studio creates sonic environment that matches the lyrical fragmentation. David Michael Curry’s viola and Brian Rutledge’s synthesizer provide textural contrast to the more aggressive elements, while the “richly layered textures of percussion, organ, and guitar” build toward controlled cacophony that never quite tips into pure noise.

Bassist Joseph Marrett’s reflection—”rubbery bandages, lying wires, and sidewalk schisms await to trip up our best intentions”—captures the song’s central tension between chaos and meaning-making. “It’s Undeniable” operates in the space where random events collide with human pattern-recognition, creating significance through accumulation rather than design.

As preview for DECK’s 52-song scope, this track suggests a project that embraces rather than fights against contemporary information overload. Through deliberate fragmentation and collaborative excess, Hallelujah The Hills have created something that feels genuinely necessary—a song that matches the scattered intensity of modern experience while maintaining enough structural integrity to function as actual music rather than mere concept.