Störte.Priester - Warum es keine Live Auftritte und keine neuen CD´s bzw. Alben mehr geben wird

Recap / Main Plot

The speaker (the creator behind Störte.Priester) explains why there will be no more live performances and no new CDs/albums. It’s not presented as drama, but as an “honest perspective” for the many fans who keep asking what happened and why nothing new is coming.

He argues that the core reason is a growing “addiction” that became a trap: once music becomes serious, you become dependent on bandmates, contracts, promoters, and record labels. Over time, that dependence destroys what used to be fun.

Key Highlights and Arguments

• Band dependency and constant compromises Life events, injuries, and creative disagreements lead to cancellations, last-minute changes, and compromise lyrics/sound.

• Record label contracts (especially 360° deals) He describes record contracts as unfair—claiming labels profit from “everything,” while artists give up major control. He argues labels can even control:

  • which songs get released
  • where the artist plays
  • how lyrics must be rewritten to fit mainstream standards

• Touring stops feeling rewarding He emphasizes that touring “every weekend” became exhausting and joyless—especially when it feels like others benefit while he gets little out of it.

• A personal betrayal / “band mafia” feeling He tells a story in which substitute musicians later tried to get him removed by claiming he was a right-wing extremist—though the promoter allegedly hadn’t even booked them. He uses this to support his broader point that the music industry can be ruthless and political behind the scenes.

• Corona as the decisive turning point He says he stopped doing live shows right before the pandemic became unavoidable. During corona, he fully committed to not returning—framing his stance around not trusting the vaccine and rejecting promoter demands tied to vaccination in exchange for earnings.

• Economic reality (fuel and ticket prices) With skyrocketing fuel costs, long-distance shows become nearly impossible for smaller bands. He predicts fans won’t easily accept higher ticket prices—especially because smaller bands already struggle to justify price increases (e.g., €20 to €40).

• No point in releasing more albums without live shows He argues that CD sales are no longer what they used to be, digital dominates, and he doesn’t enjoy producing albums alone—especially since (in Cologne) releasing an album is often expected to come with touring.

• Critique of the German rock “rebels” image He calls out what he sees as hypocrisy in parts of the scene:

  • they claim to be honest/rebellious
  • but then comply with vaccination demands when the crowd pushes them
  • and attack “free thinkers” who don’t comply His punchline-like conclusion: many fans act tough at concerts but “behave” during the week—doing what employers/authorities want.

• “Live mafia” and sound manipulation at festivals He shares multiple claims/examples that opening acts are often deliberately mixed poorly:

  • lowering volume/vocals so the singer isn’t clear
  • making the sound muddy Then the headliner supposedly comes in with perfect levels via the mixer, creating a noticeable “world of difference” effect. He also alleges bribery: a festival sound engineer allegedly took money to mix one band worse so the better-funded band would stand out.

• Refusal to sign new record deals for festival participation He describes an organizer rule that bands must be from a specific label’s roster and/or sign deals to appear. He refuses, describing it as a “gag order” that sells out the artist.

Notable Tone / Reactions

• The video functions like a justification statement: he repeatedly stresses “this is how it feels for me,” and that other bands are free to choose differently.
• He uses charged metaphors like “selling your soul to the devil,” “mafia,” and “chewing gum” to describe music-industry compromises.
• His overall reaction to the scene is framed as disillusionment, loss of desire, and exhaustion from legal/contract work.

Outro / Offers

He closes by encouraging independent decision-making (“listen to your gut”). He then promotes support options such as:

• buying/downloading music (iTunes/Amazon)
• books and merch
• his shop (atstört.de / shop)

Main Personalities Mentioned

• The narrator / creator (Störte.Priester / the speaker making the video)
• Bandmates / musicians (unnamed; one story involves backup musicians connected to their own band)
• Promoters / record label executives / sound engineers (role-based; no personal names given)
• Festival organizers (described as enforcing label-linked participation rules)