SPLINTER FLESH

“Cronos shaped me the most – especially when it comes to composing and playing live in front of big crowds.”

“Irony and satire are my favorite tools – I don’t take myself too seriously.”

“Our thrash roots are still there, but this is simply our true musical language.”

“Emotion comes while composing – technique just makes it possible.”

“I’ve experienced the big stages – now I enjoy the raw energy of new projects.”

“Today’s underground is everywhere – and at the same time harder to truly notice.”

“Focusing only on vocals is a liberation after more than 40 years of playing guitar.”

“The new album follows the same uncompromising path – and my vocals are even more brutal.”

With Splinter Flesh, Kai Pasemann steps into a new chapter that is both rooted in decades of extreme metal experience and driven by a raw, uncompromising edge.
Known for his work with bands like Paradox, Hellride and Cronos Titan, his current focus shifts toward harsher textures, biting lyrics, and a vocal-driven identity.
In this conversation with Fok ’bs’, Kai Pasemann reflects on his musical past, the evolution toward Splinter Flesh, and why attitude, humor, and brutality remain essential elements of his artistic expression.
You’ve played in bands like Paradox, Hellride or Cronos Titan.
When you look back today:
What shaped you the most from those periods?
“Hi dear Fok! First of all, thanks for your tireless dedication to heavy metal!
What shaped me the most was definitely the first phase with Cronos. But even before that, when I was already playing a few shows with my school band. With Cronos I learned a lot about composing, recording demos, and especially playing live in front of big crowds! With Paradox, the level was raised significantly – no more ‘drunk ’n ready’, haha.”
Many musicians evolve stylistically or consciously move away from their earlier sound.
Is Splinter Flesh for you more of a return to your roots or a deliberate new beginning?
“Splinter Flesh is definitely a progression in style, because in the end you can still hear thrash in it – just much dirtier, harder, and with death growls. So it’s simply continuing in a different way. And above all, no more playing guitar – I just don’t feel like it anymore right now.”
You and Fabian Schwarz have known each other for years.
Does that long shared history make collaboration easier, or does it create friction?
“There’s no friction. We want to have fun and make killer music. That only works if you’re on the same wavelength!”
While Fabian handles the entire instrumental side, your focus is clearly on vocals and concept.
Do you experience that clear division of roles as liberation or limitation?
“It’s a liberation, because if you’ve been playing guitar in bands for over 40 years, you want to do something different. Fabs is a great composer and guitarist, so I’m happy to step back completely. And the vocals naturally get better when you can fully focus on them.”
Your voice moves between deep growls and high screams.
How consciously do you control these extremes, and how much are they expression rather than technique?
“Well, the emotion develops while composing the vocals – the technique just makes it possible!”
‘Pandemic’ combines old-school death metal with thrash elements.
Is that nostalgia, homage, or simply the most honest form of your musical language?
“I think Fabs just composed this straight from the gut and let out his brutal side. We can hardly deny our thrash roots. So yes, this style is exactly our language – and the new album is already finished, and we’re hitting the same vein. The others even told me my vocals sound even more brutal this time, haha.”
Your lyrics feel biting, provocative, and sometimes almost satirical.
How important is humor in extreme metal to you?
“Irony and satire are my favorite tools. I don’t want to take myself too seriously, and that should come across. My messages are, as always, socially critical – and with Splinter Flesh even more biting, nastier, more perverse. Death metal has already ‘positively’ discussed blood, death, and hell enough – I’d rather approach it with humor.”
Songs like ‘Psychoscum’ or ‘We Love To Hate’ deal with societal abysses.
Do you see Splinter Flesh more as a mirror or a commentary?
“Clearly as a commentary!”
After decades in the music business:
Has your view of the scene changed – especially compared between the old underground culture and today’s social media presence?
“Today the underground is omnipresent on social media – theoretically, anyone can be noticed worldwide immediately. But that also floods everything, and a new kind of global underground emerges again, because even the best productions usually get lost unless you randomly come across them or they’re recommended to you. So in the end, you mostly notice bands that promote themselves well on social media and/or play a lot live.”
You use platforms like TikTok, which isn’t typical for death metal.
Is that a necessary tool or a creative playground for you?
“It’s just a playground. I thought I’d make a few funny clips. But honestly, I also lack the energy and time to constantly think about posting something.”
You’ve already played big stages, what appeals to you more today:
Those big moments or the raw energy of a new project?
“Playing on big stages filled me with joy and pride. The excitement, the nerves, the tension were always there – even if we acted cool – and it was amazing. I’ve experienced that, I don’t necessarily need it anymore. What we’re doing now feels really great. But after our smaller shows last year, people already told us we have what it takes to get back on big stages – we’ll see what happens.”
If ‘Pandemic’ is the beginning:
Where should Splinter Flesh develop – even more extreme, more experimental, or stay on this uncompromising path?
“We definitely won’t become more experimental. The new album is very much on the same path as ‘Pandemic’. I really like it, and I’m curious how it will be received. The final mix just came in last week – now we just need to decide on the track order and the artwork. In that sense: more coming your way soon, cheers!!”
For Kai Pasemann, Splinter Flesh is not about reinventing the past, but about pushing forward with honesty and intensity.
Free from expectations and driven by instinct, the project embraces both the aggression of death metal and the attitude of thrash without compromise.
After decades in the scene, his focus is clear:
make music that feels real, stay true to your voice, and never lose the edge that made it all worth starting in the first place.
by Fok ‘bs‘