South African producer and DJ Heavy-K, born Mkhululi Siqula, has detailed the serendipitous origins of his career, the story behind his “Drumboss” moniker, and his philosophy on collaboration in a recent conversation.
A Chance Encounter with Music Production
Siqula’s path into music began unexpectedly. While running an errand to collect movies for his brother, he arrived at a location where a “do-not-disturb” sign hung on the door. Inside, he could hear people recording and playing instruments. Once allowed entry, he watched a keyboardist and another person working with Fruity Loops software. The experience captivated him.
“From that moment, I knew this was something I also wanted to do,” he said. After the session, he asked the store owner to teach him the basics. The owner loaded both the requested films and the Fruity Loops software onto his USB stick. That exchange launched his production journey.
His father, a former musician who played guitar and accordion, had already immersed him in a wide range of genres, from Westlife’s pop to local Maskandi. A widely circulated image of a young Siqula seated at a computer, he confirmed, was taken in the room where he produced his debut album, which included tracks like “Wena,” “Beautiful War,” and “Gunsong.” He also created “Lento,” one of Professor‘s biggest songs, even before that album. “The first time my father saw that song on TV, he shed tears because he was so proud of me,” Siqula recalled.
The Origin of the Drumboss Alias
His debut album was titled Respect the Drumboss 2013, and the nickname has remained synonymous with his identity. Siqula embraced the title fully. “I really owned up to that name because I really am the drum boss. I don’t think there’s anyone who programs or plays drums like I do,” he said.
He also drew inspiration from Rick Ross, a larger-than-life figure who calls himself a boss. “I’m also a big guy and very confident. I’ve never felt I need to shrink myself or look a specific way. I’ve never had a boss or worked for anyone in my life. I’ve been my own boss since I was a kid.”
Evolving Sound and Slower BPMs
Reflecting on more than a decade of shaping South African dance music, from Afrohouse to contemporary 3-Step, Siqula noted that his sound has always carried a futuristic quality. “There are new guys like JAZZWRLD and Dlala Thukzin doing great things at the moment, but if you listen back to some of my old stuff, you can see I laid the blueprint for a lot of what we’re hearing today,” he said.
Adaptation has been key. When Amapiano gained prominence, he deliberately reduced his tracks’ BPM. “There was a saying then: ‘The aim is not to sweat,’ and the music I was putting out had to adapt to that change.”
Collaboration Without Ego
Siqula has worked with artists including Thakzin, Ami Faku, Burna Boy, and Tresor. He attributes his collaborative success to remaining a student. “I know I’m a genius, and I don’t feel the need to prove it to anyone else,” he said. “There are times when you get in the studio with some artists, and the ego in the room is louder than the music. I feel like if we get in the studio, you should leave your ego at the door.”
He does not charge for beats and avoids forced partnerships. “If the energy is not right or the collaboration is not aligned with what I’m trying to do, I won’t do it. I try to keep my music as authentic as possible. That’s why I enjoy working with newer, younger artists. Because at that stage, there’s not much ego, just a hunger and desire to work.”
