Anyone who’s anyone in Germany’s current hip-hop scene is on Bazzazian’s new album. From Schmyt to Trettmann to Haiyti, Casper, Brutalismus 3000 and Blumengarten, it’s a real A-lister line-up. Proof that Bazzazian knows his stuff, right? We sat down with the Cologne producer to talk about his home city, his fears, imposter syndrome and the mysterious-sounding title of his album, “100Angst” (“100fear”).
The list of people that Bazzazian has built beats for reads like the most jaw-dropping festival bill Germany’s ever seen. It all started with Azad, then came Haftbefehl, Gentleman, Samy Deluxe and Kontra K. And as if that wasn’t impressive enough, the 45-year-old walked away with a prestigious Grimme Award for his work on the soundtrack of Netflix series “Skylines”.
To top it all Bazzazian, real name Ben, released his first album, “100Angst”, in October, placing him firmly on the radar of the last few beat lovers and street poets who didn’t have him on their playlists. We chatted to Ben about why he still struggles with self-doubt despite his success plus we reveal why it’s no problem at all to go up to him the next time you see him on public transport in Cologne.
Ben, you once said everyone thought you came from Frankfurt. Probably because of your collaboration with Haftbefehl. But you’re actually from Cologne. What does being from Cologne mean to you?
The Cologne brand of local patriotism is different to other cities’. The people here are proud of where they come from. And I am too. Cologne is my city.
Cologne is my city.
You’ve been working as a producer for years but more behind the scenes. That’s changed with your first album under your own name. Do you get recognised all over Cologne now?
Yes, it does happen quite a bit. My aunt was over from Iran recently and we went for a walk around the city. We visited the Peek & Cloppenburg store and she was already feeling gobsmacked by the size of the place but then two people came up to us asking for a selfie with me. My aunt was mega proud. And so was I.
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Is it annoying sometimes when fans come up to you?
No, it’s always nice when people recognise me. It usually happens when I’m on public transport. It can be a bit unpleasant when someone on a full train keeps looking over and then squeezes their way through all the passengers to talk to you. But the people who come up to me are always really nice and friendly. So there’s no reason to be annoyed.
What’s the story behind you bringing out your own album now after so many years producing for other artists?
I didn’t have anything else to work on. After I finished the last album with Haftbefehl, I didn’t have much on. And I’d been thinking about making my own record for years. So then my manager, Max Mönster, gave me the push I needed to actually do it.
I don’t make music with people I think are crap just so I can produce a successful song.
The artists on the album all have their own styles and types of voice. Were you worried it might sound a bit pieced together? More like a playlist than an actual album?
No, that didn’t occur to me. I knew from the outset I only wanted people on the record who I like and whose music I’m into. I don’t make music with people I think are crap just so I can produce a successful song. That’s not my thing. I just had faith it would work. And that’s actually what I think’s so cool about the record – how well everything fell into place.
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Apart from wanting to work with people you like, how did you choose the artists?
I looked for voices that had something special. I can still remember when I heard “Paris Syndrom” by Blumengarten for the first time and I knew 100% that I wanted the singer, Rayan, on my album. I wrote to him on Insta and told him I thought the song and his voice were insane. And he had to be on the record.
What was a personal highlight for you in the weeks following the release?
I was as the Trettmann concert at Lanxess Arena in Cologne not long ago. It’s an overwhelming feeling standing in a venue that big. And then he played the song he did with Rayan on my new album. Standing there, listening to my song and seeing the crowd dance to it was pretty incredible.
The title of your album could be interpreted in various ways. Did you have “100 fears” about producing your own album earlier in your career?
I was definitely afraid of taking that step. And that my work might not be good enough. I was mega scared on the day we published the tracklist, for instance. I was worried it wasn’t awesome enough.
Even though you’d brought together all the top voices of the scene on your album.
Yes, that’s true. I read something about imposter syndrome recently and it really struck a chord. It’s to do with the fear of being found out because you think you’re conning everyone. That you aren’t actually any good. I get that too even though I obviously know deep inside that I am good at what I do. But I also think I need to do better and I have to keep on outdoing myself. That’s ok too though. I don’t want to stop putting the effort in just because I’ve already had some success.
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You turned your hobby into your job. Do you still enjoy it?
Definitely! But now it comes with responsibility. I have two children and a wife, a sister, a father – they could all get by without me but I want to be able to support them nonetheless. That can drive you crazy. Especially because art is extremely subjective. Whether people like it or not, whether you’re successful or not is completely coincidental. I know fantastic musicians who make incredible music and nobody’s interested in them. It’s not just about talent, luck plays a role too. And I’ve been really lucky.
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