Mithraic Magazine

These are some of the interviews I like to do most, because not only is there great music behind it, but there’s also something Mithraic as well – which, naturally, is a fast track to getting an invitation to speak with us.

Following on from our interview with Scotland’s Pictish-Mithraic warrior’s cult in Waerteras, today we’re joined by some South African torch bearers of the flame in Mithras Crowned who were also born of stone to kill the bull.

Mithras Crowned is a South African extreme metal band known for their blistering speed, technical precision, and epic, otherworldly passages. Emerging from the Johannesburg metal scene, the band has evolved beyond traditional black metal, incorporating elements of both technicality and death metal to create a unique, complete, grandiose sound with a distinct blackened flare.

With their crushing compositions that keep a relentless intensity, Mithras Crowned are carving out a distinct place in the metal world, both at home and abroad, earning a reputation that is only going to continue to grow if they keep producing polish releases like they have been.

Today we are speaking to Nikola (drummer), from Mithras Crowned to talk about inspiration, influences, and of course, Mithraism!

Mithras Crowned Interview with Nikola – February 2025 by D.

Let’s start at the beginning. in your own words, what is Mithras Crowned?

Hey man! First off, great to be doing this interview. This is one of our favourite ones so far! You really do your homework, and the Mithraic connection was an instant draw for us.

Mithras Crowned is a black metal band from South Africa that draws heavily on historical themes, particularly from the mystery cults of antiquity, with a strong focus on Roman-era Mithraism. We love experimenting with these ideas and weaving them into our music, creating an immersive journey for our listeners.

Nothing is ever super strict or set in stone—well, unless we’re talking about actual Mithraic reliefs! (Alright, I’ll see myself out.) But in all seriousness, we often adapt or modify things to fit our vision. Often, we have to fill in gaps—whether it’s reconstructing how a ritual might have been performed or interpreting ancient imagery in a way that suits our sound and themes. So, things are not very strict regarding how we reconstruct or represent ideas.

Believe it or not, The Vile Maxim has actually been in a death metal playlist of mine for a while now, so I was a bit surprised when Metal Archives told me that Mithras Crowned is the new iteration of Insidious Reign?! What encouraged this slight change in styles?

Wow, man! That’s awesome—we’re really proud of that EP. It’s a bit of a shame that project fell apart, but at the same time, it led to this, which has actually gained a lot more attention.

Long story short, Insidious Reign was a pretty serious death metal band. We had big plans, including a possible overseas tour, but half the band’s hearts weren’t in it.

Their personal lives took priority—nothing wrong with that—but it left Wes (vocals) and me watching everything we had worked for fall apart in a matter of months.

After that really disappointing episode, we decided to take things in a radically different direction—into black metal—something both of us had been getting deeply into. For me, it was almost like coming full circle, since my first metal band was actually black metal. So in a way, this felt like coming home. Wes felt the same.

Once we made that decision, we asked our good friend Wouter (guitar) to join. We had played with him in another band, Divine Plague, and he and Wes have incredible chemistry when it comes to writing and putting music together. The final puzzle piece was Ash (bass). We often call him our lucky charm—after our first rehearsal, it felt like we had been playing with him for years. The connection was instant, both musically and as friends. And, funnily enough, not long after he joined, all our tour plans started falling into place—so maybe there really is some magic there!

How has the initial reception been to Mithras Crowned? Which countries, outside of South Africa, have given MC the most attention so far?

Interesting question! South Africa has a lively metal scene, but I wouldn’t say black metal is particularly popular. It had a stronger presence a few years ago, but these days, while you’ll still see a few black metal bands on line-ups, it’s not the dominant style.

That said, the real response came from overseas. Most of our listeners are from Europe and the States, which was a bit of a surprise but also really encouraging.

Releasing our EP through Black Metal Promotion was a game-changer—we’re incredibly grateful to him for putting our music out there. It gave us exposure to an audience that might not have found us otherwise, and the response has been amazing.

What equipment does Mithras Crowned use, and what equipment would you like to add to your arsenal in the future?

We’re all pretty particular about our gear—it’s got to deliver the right tone, feel solid, and hold up to the intensity of what we play. Here’s what we’re working with:

Wouter (Guitar): He plays an Ibanez RGT6 loaded with EMG 81 pickups and uses Attak Piks picks. His amp setup is pretty special—a Kraken KT50 “Wouts Signature” head with a 2×12 Kraken cab loaded with Celestion V30 speakers. What makes it even cooler is that the rig was hand-built in South Africa by Ruben Tereblanche.

Wes (Guitar): He rocks a Jackson Warrior through an Axe-FX profiling amp and a Marshall 4×12 cab. He uses Ernie Ball Mammoth Slinky strings and Dunlop Tortex M3 picks.

Ash (Bass): He plays a Schecter Omen Extreme 4 with D’Addario Pro Steels. His amp setup is an Ampeg Micro VR paired with an SWR 2×10 cab loaded with Eminence drivers. On the pedal side, he’s running a TC Electronic Polytune 2, TC Electronic SpectraComp, Boss ODB-3 Bass Overdrive, Boss NS-2 Noise Suppressor, and a Darkglass Electronics Alpha Omega for that extra punch.

Nikola (Drums): I play Vic Firth sticks on a Pearl Pure Reference kit with a mix of Anatolian and Zildjian cymbals.

When we recorded the EP, we used an Ibanez Iceman loaded with Seymour Duncan Blackouts, with solos and some extra parts recorded on the custom V that was built for the music video. Amp-wise, we mainly used a Peavey 5150 and a Triple Rectifier.

We’re always on the lookout for ways to refine our sound, but this setup has been working great for us so far!

In the future, we want to refine our live shows—tightening up our sound, enhancing the atmosphere, and making every performance as immersive as possible. We’re always looking at ways to push things further, whether it’s through better stage production, refining our gear setup, or just making sure every show feels like a full experience.

Alright, let’s get esoteric. What does Mithraism mean to you? What made you pick Mithras Crowned as a name? And are you more inspired by the Middle Eastern Mithraism, or the Roman variety?

Great question! So, for me, Mithraism is fascinating because it sits at this intersection of discipline, initiation, and hidden knowledge. It was about transformation. You had to earn your way through the ranks, and everything was steeped in secrecy. That kind of structure, with its layers of meaning and ritual, really resonates with us.

My background is in ancient history, classics, and ancient languages, and during my studies, I got deep into mystery cults. When Insidious Reign fell apart, I suggested to Wes that we explore something to do with Mithras. The connection to the Eastern Roman military was just too cool to ignore—this was a cult that thrived among soldiers, built on loyalty, initiation, and hidden rites. It just felt like a perfect match for extreme metal. Wes loved the idea, and from there, Mithras Crowned was born.

The name itself reflects the idea of ascension—Mithras as the crowned, victorious figure, the one who overcomes. It felt powerful. We also love the concept of mystery cults in general—these underground, exclusive sects that existed alongside state religion, offering something deeper and more personal to their initiates. That same idea of something hidden yet transformative is something we try to bring into our music.

As for which form of Mithraism inspires us more, definitely the Roman version. The Middle Eastern origins are very important, but what really grabbed us was how the ​Romans shaped it into a structured, soldierly cult. The imagery of the underground Mithraea, the tauroctony, the initiatory feasts—there’s something very evocative about it. It’s like a mix of the cosmic and the martial, and that’s exactly the kind of atmosphere we want to create in our sound.

Let’s talk about Son Of Stone, a song clearly inspired by Mithras. However, Emerald Voyage has more of a Hermetic feel to it. I find this interesting, as Waerteras, in their interview, also ended up echoing points that could be viewed as Hermetic in philosophy. Is this a happy coincidence, or do you think there is a deeper link between Mithraism and Hermeticism?

First off, Waerteras is so cool, man! I actually discovered them through this interview, and they’re from Scotland, so hopefully, we can link up and do some shows together. That would be sick!

Now, onto the question—this is something that could fill an entire book, and honestly, everyone has their own interpretation. The band doesn’t have one singular stance on this, but through our discussions and especially my own readings, I’d sum it up like this:

Hermeticism can be summarised as the union with the divine. And I’m not talking about dancing in a cemetery with a grimoire, pretending to be a Satanist, acting hardcore, taking hallucinogens, or adopting an anti-religious stance—among other things. That kind of thinking is surface-level and completely removed from real Hermetic thought and practice. It is rooted in dualism, arising from the conditioned mind. In fact, it is the polar opposite of true Hermetic thought and knowledge.

True Hermeticism—the kind that has been veiled from most of society and accessible only to the most gifted initiates with a high capacity—is the noblest path a person can embark on. At its core, it aligns with the deeper mystical teachings found in the major faiths, perfectly harmonising with their core doctrines. These teachings are not typically available to the general public but exist within the protected esoteric traditions of each. The Tarot, often misunderstood today, is one of the oldest surviving expressions of this wisdom. Unfortunately, most of these traditions have been diluted, misrepresented, and disrespected over time—but that’s another discussion entirely.

Mystery cults, including Mithraism, represented different aspects of the divine. Mithras is just one example—others include Isis, Osiris, and many more across various traditions. A useful parallel can be found in Tibetan Buddhism, particularly the Vajrayana path. Why mention Tibet? It is one of the few places in the world where an extraordinary esoteric tradition has largely been preserved despite the devastating effects of the Cultural Revolution. Many high-level initiates have reincarnated there, continuing the lineages of various schools. Their work with the elements, visualisation, and devotion to their respective deities, be it Green Tara, Amitābha or Avalokiteshvara, has certain similarities with the lost traditions of Occidental Hermeticism. While these traditions are by no means interchangeable, I wouldn’t be surprised if the core teachings of mystery cults—such as Mithraism had survived—we would find the similar use of mantras, visualisations, and elemental work.

So to summarise, mystery cult traditions such as Mithraism are intrinsically linked to Hermetic thought and practice for those who can read between the lines.

Leading on from that, what do you believe is the significance of the Bull? Do you believe that the Bull is a metaphor for the astrological age of Taurus, or like Waerteras, do you believe it has multiple meanings, rather than just having one meaning in particular?

We’d have to agree with how Waerteras have interpreted it—the bull can be understood in numerous ways, and there’s no single definitive meaning. That said, the astrological significance can’t be ignored!

Mithras slaying the bull has been interpreted in many ways, but at its core, it represents strength, sacrifice, and the act of overcoming obstacles. It’s a symbol of transformation—of harnessing raw power and turning it into something greater.

Whether viewed through an astrological, mythological, or initiatory lens, the imagery carries layers of meaning that go beyond a single interpretation for us.

Are there any texts you would recommend for those who are looking to learn more about the esotericism behind Mithraism or even Hermeticism?

For Mithraism, Manfred Clauss’ The Roman Cult of Mithras: The God and His Mysteries is a great place to start. It lays out the structure of the cult and its rituals in a really accessible way. Another interesting one is Payam Nabarz’s The Mysteries of Mithras: The Pagan Belief That Shaped the West —it’s a bit more speculative in places but does a great job exploring how Mithraic ideas may have influenced later esoteric traditions.

If you want to go deeper, Roger Beck’s The Religion of the Mithras Cult in the Roman Empire: Mysteries of the Unconquered Sun is essential reading. He really digs into the iconography and the deeper meaning behind Mithraic rituals. Walter Burkert’s Ancient Mystery Cults is also worth checking out—it doesn’t focus only on Mithraism but places it alongside other mystery traditions like the Eleusinian Mysteries and the cult of Isis, which helps give a broader picture.

Speaking of Isis, there are some great books that explore those Egyptian mysteries as well, like Friedrich Solmsen’s Isis Among the Greeks and Romans and R.E. Witt’s Isis in the Greco-Roman World. Mithraism wasn’t the only mystery religion thriving in the Roman Empire, so it’s cool to see how these different traditions interacted. Athena Tripolitis’ Religions of the Hellenistic-Roman Age also gives a solid overview of the religious landscape at the time. These are all great reads but are on the academic side of things.

On the Hermetic side, G.I. Gurdjieff, Israel Regardie, P.D. Ouspensky, Maurice Nicoll and Dion Fortune are all good entry points. They each approach the Western esoteric tradition from different angles, whether it’s practical mysticism or philosophy.

Lastly, a few more books that illuminate many core Hermetic truths—though from an Eastern perspective—include Time, Space, and Knowledge by Tarthang Tulku, Gates to Buddhist Practice by Chagdud Tulku, and The Crystal and the Way of Light by Chögyal Namkhai Norbu. These texts explore key principles that are not always explained as clearly or simply in Western esoteric works. They address fundamental tenets such as the impermanence and illusory nature of human life, the universal law of cause and effect—which governs everything from one’s capacity to their future rebirths—the process of death, which must be consciously understood and navigated, and more.

I’m ashamed to admit, I know relatively little about the extreme metal scene in South Africa. What are some of the other bands you would recommend we check out from South Africa?

Nothing to be ashamed of—there’s so much music out there! South Africa’s extreme metal scene has a lot to offer, and a few bands that come to mind are Megalodon, Eat The Elderly, Sunken State, Raptor Baby, Wildernessking, Crow Black Sky, and Chaos Doctrine—but that’s just scratching the surface.

Also, definitely check out Bleeding Spawn—our guitarist Wouter plays in that band—and Disarmageddon, which features our bassist Ash. Both are killer bands; they’re not black metal, but you’ll probably dig them too!

Leading on from that, how is the Johannesburg and South African scene in general for black or extreme metal gigs? Do you face any challenges from the government or protestors when trying to organise such events there?

I wish I had some wild stories for you—maybe a protest or two—but honestly, I don’t!

Haha. On a serious note, the metal scene here is actually pretty chilled. It’s small, but we’ve got a couple of solid venues and some organisers who really put in the effort to keep things alive.

One interesting thing about the scene here is that no single style dominates, so metal line-ups are usually a mix of different subgenres, which keeps things fresh. Cape Town is the other big hub for metal in South Africa—some of the bands I mentioned earlier are actually from there.

That said, the scene used to be bigger a few years ago, and it’s definitely contracted a bit. Whether that’s a global trend or just something happening locally, it’s hard to say.

But the passion is still there, and the people involved are keeping it going.

And that leads me nicely to what does 2025 look like for Mithras Crowned? What is on the to-do list for this year’s campaign?

This year is all about taking Mithras Crowned beyond South Africa for the first time, and we’re really proud to have reached this point. On the 5th of July, we’ll be playing at Metal Theatre in Sweden alongside an insane lineup—Mayhem, Grave, The Haunted, Baest, and loads of other killer bands. After that, we head to Poland for three dates, then to Prague and Budapest.

It’s a short tour, but we’re still learning the ropes, and this is just the beginning. We’re also already looking ahead to 2026, planning a bigger run and putting out feelers for a possible label to work with. Towards the end of this year, we’ll be dropping some new music, along with a music video, and just keeping the momentum going. Exciting times ahead! Hopefully we can check you and your readers at some of the shows!

Come say hi!

What are some of the things Mithras Crowned recommends we check out? This can be books, movies, music, whatever. What do you think we’ll appreciate out there?

I think most of the good stuff was covered in the book list I gave earlier, but before I forget—one great podcast worth checking out is The Secret History of Western Esotericism Podcast. It’s an academic yet highly informative deep dive into the history of many esoteric traditions and figures.

As we’re now drawing to an end, I just want to say thanks again for your time today. To the reader, if you’ve not already, you should check out Mithras Crowned’s 2024 EP, Hymns of the Hierophant. It is a fantastic release with a well executed mix that blends the boundaries between black and death perfectly. If you’re into black metal with a touch of death metal mixed in I don’t think you will regret giving this one a spin!

Guys, any final thoughts or comments you want to make before we go?

Thanks so much, man! This was a great interview, really enjoyed it. Hopefully, we’ll get to meet you on the road someday!

One last shoutout to Mix or Die Productions — he absolutely nailed the mix and master, helping us bring our vision to life. And a huge thanks to ANIME YXNGOAT for bringing our vision for the music video alive. Those two really helped take everything to the next level!

Appreciate it, Nikola!

BOSTKTB,
HTBLOF.