Emerging as a serious contender to a long unseated throne Oxnard, California-based crossover/thrash metal quintet DEAD HEAT return for a harder, meaner and louder third full-length album which does well to link the traditions of the sub-genre old and new from their point of view. Much as ‘Process of Elimination‘ boasts of whopping production values and niche-specific intensity the broader success of this album is the sensation of late 80’s hard-thrashing menace they’ve applied to an otherwise well-familiar node of metalpunk which notably thrives under extreme conditions. Though their songcraft isn’t as catchy as some of the bigger names of the last decade or two within thrash metal revivalism there is yet something to be said for a record in this style putting its guitar hand first and still making restless, tuned-in fire of it.

Dead Heat formed as a quintet circa 2016 with vocalist Chris Ramos and guitarist Justin Ton (Spinebreaker, Upon Stone) having stuck around since. They’d gotten right to it with a self-titled demo (‘Dead Heat‘, 2016) where some obvious love for late 80’s hardcore, crossover and thrash metal alongside some Suicidal Tendencies and Municipal Waste-like digs set ’em apart at a time when everyone (underground) wanted in on the Power Trip sound. Dunno if they were worthy of mention out the gate but the debut LP from the band (‘Certain Death‘, 2019) made reference to (“Prisoner of Mind”) and included a cover song by Crumbsuckers and you could hear the inspiration taken for their guitar tone. Hit up “To the Core” from that record for an example of their guitar work standing well above-average in skill/reference compared to most in this style. Not sure I was falling out my chair for any one given song but it was clear these folks could play… and also afford exceptional production values for each release. They definitely had the right idea and were doing it large on their Madball-meets-Cro-Mags stoked second LP (‘World At War‘, 2021). I’m not going to say those weren’t rad albums in any sense but this new one leans more “metal” and that means more of the big-dog stadium thrash energy found on their ‘Endless Torment‘ EP a couple years back.

From my point of view back in the late 80’s crossover was of two less obviate worlds where some cribbed a few Slayer riffs, dressed like Cyco Miko and provided parody of metal ‘tude and posturing whereas the best remembered bands had a serious metal fan as a guitarist and flexed songcraft around a substantive personal or political message. Dead Heat carry over a bit of both realities, the cartoon and the rebellion, in that they’re touting a classic thrash level wield atop metallic hardcore beats while naming major inspiration pulled from bands like Dark Angel and Kreator… some of which we hear direct or nearby reference to within ‘Process of Elimination‘. In the process of revealing a series of ten ~3-4 minute quick-clapped thrash songs they’ve edged-out most of the “hardcore fun” in that equation (sans maybe the “DH Stomp” title) for the sake of a serious, aggressive thrash/metalpunk record. — In this way they’re booting up nearby the current standard set by bands like Rhythm of Fear, who’ve got riffs and songs readied up in every case, as well as the extra-tuneful (and now related) Take Offense without sounding much like either. Many 80’s inspired bands hit crossover style points exactly on the mark anymore (re: Doomsday esp.) but I don’t know that more than a handful are on this specific level.

On the other hand the chunking rush of opener “Perpetual Punishment” and the breakdown nearby the end (~2:37 minutes in) might be best served to the ear of the Power Trip, Enforced, et al. fan as it feels like Dead Heat touch down onto a bleaker plane for the sake of the aggression implied. This level of minutiae, comparison and categorization likely doesn’t matter to the average backwards-facing crossover fan today as big riffs, great album art, and a huge all-pro production values should be enough to win over most but I am basically making the argument that a fan of either classic or neo/retro thrash should appreciate the cut of the band’s current action and hi-fi sound; Where are the big riffs to back this up? “Enemy” is a real grinder to start but the chanted-loose hardcore chorus and pump n’ roll of the verse beat feels like these folks striking right where they’re suited best, deep in a run-on groove. “By My Will” reflects of the earlier suggested influences with its quick cut throng of riffs and gang-shouted breakdown in the last minute. More important for a band revealing themselves as new ambassadors to crossover… I figure if I want to pick up a guitar and play a few riffs from “Hidebound” many others will to. It isn’t groundbreaking stuff when cut down riff-by-riff but it does add up an entertaining listen.

The best songs on ‘Process of Elimination‘ for my own taste ramp up on Side B after Dead Heat‘ve made the case for some authentic new-and-old crossover value and start to duck into a few longer, slightly more complexly stated pieces. “Solace Denied” may very well follow the same song structuring found on most of Side A but they’ve given themselves an extra minute to whip a couple more riffs and crank the speed. “Process of Elimination” introduces some slightly more technical shapes amidst tri-tonal dread, some of the best transitions on the album overall before album closer “Hatred Bestowed” veers off into a sort of ‘Malleus Maleficarum‘-tainted bap to its verses. I’m not saying there is a shade of extreme metal fully in effect here but rather that it is a natural result when taking inspiration from late 80’s thrash metal, especially the riff-intensive stuff.

Dead Heat have always been a solid band, so, I wouldn’t sum my thoughts on this record suggesting they hit on something any more (or less) special by doubling down on my favorite era of thrash so much as that this latest record only bolsters their whole discography, adds something a couple shades harder to an already choice thread. That said I’d found ‘Process of Elimination‘ so focused on a mechanically sound, amped-up and riff-heavy version of crossover thrash that it’d nearly forgot to crack off on a genuinely catchy song in the midst and this was the only thing that’d kinda held back on the full listen. Still I’ve got to give credit where due, this work is up there with the current all-around high standard for this sub-genre and fans should accept nothing less. A high recommendation.

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