A new project has arrived from the netherworlds. Planeswalkers — the collaboration between ethereal gothic artist Arden Leigh of Arden & the Wolves and visionary industrial and electro musician and producer Andrew Means (3TEETH, Patriarchy) — announce the release of their debut EP, The Mind Room, out September 1, 2026 on all digital platforms. Dark, immersive, and operating at the intersection of ambient, electronic, experimental, industrial, and witch house, it is a release built not only with musical craft but with intentional, occult purpose — a hypersigil in sonic form.
For fans of Massive Attack, Imogen Heap, Zola Jesus, Portishead, and The Buttress, The Mind Room is the record those influences were quietly pointing toward all along.
The project was not planned. Arden Leigh had made a deliberate decision to stop starting new music projects entirely, committing instead to collaborations under the name of her solo project. Then Andrew Means arrived with four tracks in late 2025 — and within just the first few seconds of what would become “Horizons,” something shifted.
“I could already hear his genius,” she says. “I got the feeling of something stark yet hallowed, like being in a small room with a black and white film installation in the corner of a modern art exhibit, and not wanting to make a sound because you know you’re in the presence of something sacred even if you don’t understand it yet. I knew these songs had to be written about something special.”
Andrew persuaded her that the work they were creating together deserved its own name — its own identity. The name they chose, Planeswalkers, reflects both their shared occult practice and a lyric already written into “Body” about walking the planes. The two share a practice of astral projection that became, at times, a literal part of their creative process.
“There were times when we’d finish working on music and then lie down on my floor and astral project together,” Arden says. “It’s a really amazing gift to have met someone who shares my two main interests of music and magick like that.”
“This EP has been a wonderfully explorative process into newly discovered sonic realms with Arden,” Andrew says. “The lyricism and the musical expression go hand in hand in a way that I am ecstatic about. The synergistic partnership between myself and Arden is something I am incredibly excited about and I am looking forward to creating many great works with this project.”
The Mind Room is a high-concept work built around a subject Arden Leigh approaches with both personal investment and studied precision: facilitating healing from extreme trauma through remote means.
The EP explores one of the fundamental catch-22s of severe trauma — particularly trauma stemming from organised abuse or hypnotic programming — where tripwires embedded in the psyche can prevent a person from consciously confronting what has happened to them. Even in milder cases, denial and avoidance function as coping mechanisms when the reality of trauma feels too intense to face directly.
“I understood the cry for help from the loved one in question as a genuine expression of their desire to heal,” Arden says, “and their subsequent avoidance of it as a symptom of that which they were healing from. Answering that call meant studying and innovating methods of communicating remotely to create safety and awareness among their internal parts — to foster the trust needed to begin slowly unpacking their memories with them.”
The vocal performances across The Mind Room dramatise that process — functioning simultaneously as narrative, as emotional witness, and as the EP’s defining hypersigil: a work of magick, in the tradition described by Arden’s teacher Grant Morrison, that alters reality in accordance with intent through narrative and storytelling.
Arden and Planeswalkers recommend The Plural Association at powertotheplurals.com for resources on plurality, including traumagenic DID, and for those who wish to make a donation.
Arden Leigh’s otherworldly vocals merge with Andrew Means’ menacing atmospherics and ambient grooves across a sonic palette that moves freely between ambient, electronic, experimental, industrial, and witch house — drawing from multiple genres without settling comfortably into any of them. The result is exactly what the project’s name suggests: music that moves between planes, that exists in the space between the familiar and the sacred, between the seen and the unseen.