# Singles & EPs > **One-line reading.** The between-albums hub — where, more than once, the most important developments in the mythology happened *off* the record: the dream that births [[Sir Lucius]], the buried child given his own song, the Loop named out loud — all released as one-offs that point straight at the era to come without ever joining it. > [!info] Release facts > - **Span** — the standalone singles and EPs between the three albums: [[Subject to Flooding|Subject to Flooding]] (2018), [[33|33]] (2022), and [[Lucius Lullaby (album)|Lucius Lullaby]] (2026). > - **Richest run** — 2023–2025, between *33* and *Lucius Lullaby*: roughly a dozen releases on **Big Loud** (and its imprints), plus two blockchain / Web3 drops. > - **Labels** — Big Loud / Big Loud Rock / Mercury (UMG); two releases (*Life Is Good*, *dumbledore*) went out on-chain to route around the gatekeepers. > - **Streaming** — *(playlist link placeholder — a "Singles & EPs" collection to be pinned here)* ## At a glance - **Era** — the connective tissue between the albums; not a record but a *drip*, 2018 through 2025, densest in the final two-year stretch before the 2026 album. - **What shifts** — the mythology gets *built in public*. The Lucius iconography, the "mastermind" voice, the Loop concept, and the industry-as-Circus grievance all assemble here, ahead of the album that names them. - **Who's present** — [[Sir Lucius]] visibly comes together (face and origin in 2023, years before his co-credit); [[Roy]] is the through-voice; [[Sir Rabbit]], the seeker-self, appears as Roy's own image of himself before the split. Real collaborators recur as themselves, not symbols. - **Start with** — [[Good Time (1-08)|Good Time (1:08)]] (the dream where Lucius is born) · [[The Watchers]] (surveillance turned inward) · [[Ballerina Boy]] (the buried child, given a song) · [[LOOP]] (the Loop named outright). ## What it is Not everything Jagwar Twin releases lives on an album, and this page is the hub for the ones that don't. Some are throwaway one-offs. A few are load-bearing to the whole system — and the tell is that they were *deliberately left off* the record they prepare. The releases fall into three rough clusters. Around the **2018 debut**, standalone cuts like [[Shine]] sit at the edge of the *Subject to Flooding* record. The **2019–2021 gap** between albums is still lightly mapped — an honest hole this page will fill as research continues. The **2023–2025 run**, between *33* and *Lucius Lullaby*, is where the action is: a steady stream of singles and EPs in which the Lucius look, the dream-logic, the Loop, and the industry grievance get worked out in the open, one release at a time. The through-line is that the singles are where you can watch the *seams*. If the albums are the finished chapters, these are the drafts left visible — and in this catalogue the drafts are frequently the most revealing thing in the room. ## The arc The era's move in the larger story is **accumulation over arrival**. The single most important figure in the Jagwar Twin world after Roy — [[Sir Lucius]] — does not *appear* fully formed in 2026. He *accretes* across these singles: full face paint, knight's armor, and the line *"I'm a mastermind"* arrive in the **2023** [[Good Time (1-08)|Good Time (1:08)]] video, two years before Lucius's first co-credit (*Not Your Homie*, 2025). The clean statement of the catalogue's core rule — the heart knowing what the mind can't argue against — is spoken in Roy's own voice, in a 2023 dream-story, not on the album at all. By the time *Lucius Lullaby* hands Lucius the microphone, the era has already assembled him. Two other movements run underneath. **The concepts that stayed standalone**: [[LOOP]] names the Loop and carries Roy's resolution-line, yet was kept off the album; [[Ballerina Boy]] gives the founding childhood wound its own track, and likewise did not cross over. They orbit *Lucius Lullaby* without landing on it — load-bearing pieces of the mythology living just outside the record they prepare. And **the drama was staged in public before the album dropped**: across 2025 Roy released the theatrical [[The Interview|Roy v Lucius]] series, dramatizing the Roy-versus-Lucius struggle the album then crystallizes. The era's loose pieces weren't just leftover songs. They were how the story got told. The honest note: several of these releases are still lightly mapped, and a couple are simply good standalone songs with no deep place in the system. Where that's true, this page says so. ## Major songs *Following the calendar, with the crossover cases flagged. To follow the **mythology** instead, use the reading order below.* **Around the debut (~2018)** - [[Shine]] — the dawn after the deluge. As the *Subject to Flooding* closer it names the flood outright (*"you're in the sea so you're gonna drown"*) and stands its ground anyway; Roy's stated aim was *"a chorus that felt happy, like the sun rising."* It also plants the catalogue's light-bearing vocabulary at the very start — a first-person *claim* the divine-feminine voice later redirects into a blessing. Later given a second life as the **"Shine (Live In Studio)"** single (January 17, 2020, tied to a quarantine video project) — the album closer briefly reissued on its own. **Between *33* and *Lucius Lullaby* (2023–2025)** - [[Good Time (1-08)|Good Time (1:08)]] — the consequential one: a party-pop surface riding directly over the dream where Lucius is *born*. Fame advice from Drake in a white minivan, then you turn into a rabbit, then a second rabbit in clown makeup climbs into your passenger seat to explain that he has all the answers. The video carries the earliest fully-assembled Lucius look, years early. - [[All My Friends]] — a cheerful apocalypse: *"there's nowhere to go and the world is ending,"* answered not with despair but with *"if I'm going out it's with all my friends."* Its throwaway line *"a clone in a crowded city"* is a retrospective seed of the album's replication horror, and *"I can't stop spinning / I thought I was winning"* is the Loop caught in miniature — rotation mistaken for a win, collapsing into company. It also carries the era's one named character: **Jenny**, the *"big red flag"* former dancer who *"used to be a dancer / now she's got the answer / preaching bout the End Time days"* — the dread given a face, held as a portrait, not pinned. (On release day Roy annotated her with a bare, unexplained post — *"Jenny / = / 408"* — meaning genuinely open.) - **The Circle: The Great Jagwar Myth** — a 2023 reimagined telling of [[The Circle]] from *33*; still lightly mapped, and honestly a gap (no page of its own yet). Distinct from the album's 2026 opener, [[The Circle (Lucius Version)]]. - [[Life Is Good]] — joy as a *decision*, not a description: *"The world's in flames / but at least we're having fun,"* undercut by the flat confession *"I'm mad / and I'm sad,"* and centered on the refusal that won't resolve into wisdom or evasion — *"keep a smile on my face, too happy to choose."* A song asking whether reality is an illusion, co-performed by an actual AI (Hume's @angelbaby) — almost too on-the-nose. - [[Bad Feeling (Oompa Loompa)]] — a 2023 single (timed to that year's *Wonka*), and the era's clean example of a single that *did* cross over: later folded onto *Lucius Lullaby* as a track. Credited interpolation of the 1971 Willy Wonka songbook; Josh Dun (of Twenty One Pilots) on drums. - [[The Watchers]] — a short EP built on a surveillance theme, interpolating Rockwell's 1984 *"Somebody's Watching Me"* (credited) and turning the net into a single watching Eye. The clone-fear turned *inward*: *"I'm afraid I'm a clone."* - [[tomorrow (ANGLE OF ETERNITY)]] — a threshold-anthem of remembrance with lovelytheband: death as a doorway, reality as holographic, and a massive outro chant that resolves not to *"I know"* but to *"I AM."* - [[dumbledore]] — the release Roy fought the label to put out (the catalogue's one direct Harry Potter reference), and the funniest saga of the era: blocked, dropped on the blockchain to escape, and freed with a perfect Dobby beat. A martyr-complex song that keeps interrupting itself to yell *"go dumb"* — issued in two simultaneous cuts, standard and a *DARK ARTS* version. And the framing that keeps the title from reading as pure irony is Roy's own: *"Dumbledore, but it's a love song."* The wizard-name lands as sincere mentorship (*"a reminder that you are fucking magic"*), not just a punchline. - [[MAGIK]] — the clearest *witnessing* song in the catalogue: a voice telling someone at risk of vanishing that their ordinary presence is already miraculous. *"Everything you do is Magik"* — against *"a world so plastic."* The tender counter-pole to the whole Circus. (The archaic *-k* spelling raises, without settling, a nod to Crowley's *"Magick,"* the coinage that split intentional *will* from stage illusion — though the song leans far harder on innate wonder than on occult will.) - [[SideQuest]] — comic heartbreak about *false centrality*: you thought you were the main character and discover you were optional content. The project's own Jaguar emblem, deflated mid-line — *"Jaguar Swaguar 'til you broke my heart"* — plus an astrology burn about a zebra. (The line settles on the *animal*, per a 2026 streaming check; an early Shazam pass had heard the project-name pun *"Jagwar Swagwar"* instead — a small fork worth naming, since which one it is decides whether it's the great cat or the brand getting its heart broken.) - [[Ballerina Boy]] — the wound-song: the buried-child shame at the heart of Roy's story, given its own track. First-person, no Lucius mask, the whole confession in the lyric. Kept *off* the album — and Lucius mocks it on-screen for exactly that vulnerability. - [[LOOP]] — the Loop named outright, and the light-side path in a publicly-named chain (LOOP → [[Not Your Homie]] → [[Welcome to the Circus]]). Sole writer Roy English (*"I wrote this alone. That's where the magic flows"*). Carries his resolution-line, *"my mind must serve my heart"* — the exact counter to the album's borrowed bargain. Also kept off the album. - [[Not Your Homie]] — a Halloween 2025 pre-album single that *did* become an album track. The chain's "master it from within" pole; co-credited to Roy, MERCY, and Sir Lucius. MERCY originated the hook on a joke voicenote after a party — *"the ultimate introverted extrovert anthem."* (Full analysis lives on the album page; here it's chain context.) ## Advanced reading > [!note]- The slow assembly of Sir Lucius — "origin accumulates, it doesn't begin" > The era-defining thread: the most important developments in the mythology happened *off*-album, years before the billing. In the [[Good Time (1-08)|Good Time (1:08)]] dream-story Roy tells publicly, note that *both* figures are the same animal — Roy is a rabbit doing the seeking, and Lucius is a *second* rabbit who intercepts him. The shadow isn't an invader; it's an **adaptation of Roy's own nature**, which is exactly why it can't simply be cast out (the [[Concepts/The Dweller on the Threshold|Dweller-on-the-Threshold]] logic, narrated at its source). Corroborating the "accumulates, doesn't begin" reading: the visual canon shows a *"Devil waking up to claim the kingdom"* title card as far back as [[I Like to Party]] (2021), *predating* the 2023 dream-origin. See [[Concepts/The Visual Canon Throughline]]. > [!note]- "Good Time (1:08)" — the song sung from inside the dream > Several strong reads stack on this one: (1) the song *is* the dream, sung from inside it — *"just a rabbit in a road rage"* and *"I don't know what I'm looking for"* are near-verbatim, streaming-verified callbacks to the dream Roy narrates; (2) Lucius's seductive-guide voice is in the verses — *"You're a star… stick with me, I'll take you far"*; (3) it's the catalogue's cleanest grounded statement of the truth-that-deceives *and* of heart-over-mind, dated to 2023 and in Roy's own voice; (4) *"step right up"* is the proto-Circus barker — the bright version of [[Welcome to the Circus]]; (5) *"I don't need a witness"* is anti-witnessing (pointed, given the *"God who sees me"* mark Lucius later wears on his throat — see [[Concepts/Witnessing vs Surveillance]]); (6) Lucius appears only *after* Roy takes the wheel and admits he's lost — he is a **solution to uncertainty**, an answer to not-knowing; and (7) that honest *"I don't know what I'm looking for"* is therefore the most *anti*-Lucius line in the song, kin to [[tomorrow (ANGLE OF ETERNITY)|tomorrow]]'s *"maybe I don't know, and that's fine with me."* > [!note]- LOOP as the light-side counter-pole to "serve somebody" > Roy's resolution-line *"my mind must serve my heart"* (published as part of the [[LOOP]]-era lore) is the exact counter to the album's Dylan-borrowed bargain, *"you gotta serve somebody."* Same verb — the fight only over *who the servant answers to*. And *"Life is a loop"* (2024) belongs to the same phrase-family as *"life is but a dream"* (which Lucius recodes on the album): **loop = the trap named so it can be broken; dream = the trap as lullaby so you stay asleep inside it.** LOOP is Roy recognizing the machine while still emotionally caught in it — the Lucius-system sung from the heart's side. The unsettling read: *"we stayed up all night talking about how we're gonna break the simulation"* arrives in the *past* tense — talking about escape may itself be part of the loop. See [[Concepts/The Loop and the Circle]]. > [!note]- Ballerina Boy — the wound at the center, held straight > The autobiographical wound is rock-solid: age 7, Christian school, the only boy in ballet, the girls' *"you're not a real boy,"* the vow *"I never danced again."* Roy tells the same origin publicly *outside* the lyric, and the Masquerade Atlanta venue bio independently confirms the childhood ballet — so the anchor is triple-grounded. The reading around it: Lucius is *not* the ballerina boy — Lucius is what grows *around* the grave, the armor built once softness is buried, which is why he mocks this song on-screen (*"Ballerina Boy. When you're vulnerable you LOSE!"*, [[The Interview]], EP3). Where Lucius protects by *armoring*, the parental and divine-feminine voices in the outro protect by *blessing*. Held with care: the cosmology is the overlay; the plainest reading of that spoken outro is simply a mother blessing her son. See [[Ballerina Boy]] (character) and [[Mary]]. > [!note]- The Watchers, the Rockwell parable, and the El Roi axis > [[The Watchers]] runs the album's surveillance theme *inward*: where [[City of Angels]] externalizes the replication horror (*"everyone looks just like you"*), this internalizes it (*"maybe I'm the copy"*). The crowd becomes an Eye — a third face for [[Concepts/The Audience]] (communion / harvest / gaze) — and the credited **theremin** (played without touch, controlled at a distance) *is* the subject's texture on a song about being watched: form enacting content. The interpolation is overdetermined. Rockwell was Berry Gordy's son, who shunned the father's name to escape being a nepo-*copy* (the clone-fear the lyric names, lived by the source song's author), wrote the song from a literal floor-prayer, and had Michael Jackson sing the hook *uncredited* — a saga about *contested authorship*, the exact engine of the Lucius system (the figure who signs his name to a transmission that isn't his). Deepest of all: the song lands on the artist named for **El Roi**, *"the God who sees me"* — and surveillance *shapes* where witnessing *transforms*. The machine that watches everything cannot witness anyone. See [[Concepts/Witnessing vs Surveillance]] and [[Concepts/The Empty Mirror]]. > [!note]- MAGIK and tomorrow — the era's tender poles > [[MAGIK]] is the inverse of Lucius-style spectacle: Lucius *manufactures* impact; MAGIK *recognizes* radiance (*"you don't even see it / but you have it"*). Its radical move isn't complexity — it's the refusal to play by the plastic world's terms; the addressee sits at *"the middle of a maze,"* the witnessing working like [[The Thread]]. [[tomorrow (ANGLE OF ETERNITY)|tomorrow]] is a threshold-anthem of *remembrance* — salvation recovered, not acquired, part of a grounded cross-song pattern ([[The Circle]]'s *"remembered she once held the string"* → [[Soul Is A Star]]'s *"do you know who you are?"* → *"do you remember?"*). Its *"if we live like we ain't gonna die"* inverts [[Playing to the Gods]]' fearful *"if I make it out alive, then I'm never gonna die"* — surrender versus the ego's death-grip — and the *"I AM"* outro reads as identity rooted in *source* rather than audience. Both are hedged where they're collaborations: the spiritual frame of *tomorrow* may be co-authored with lovelytheband. > [!note]- The Circus was the industry, lived — the gatekeeper floor > The "algorithm baby" grievance is grounded in a documented fight with label gatekeeping (public posts): Roy dropped by Warner (*"said Happy Face wasn't good sooo haha"*) and Atlantic (*"they thought the song sucked"*); the [[dumbledore]] release blocked until it could *"go viral on tiktok,"* then dropped on the blockchain *"becuase the label has no rights there"*; the *Bad Feeling* radio war (*"we're at war with the forces of darkness in pop music"*); the Spotify mission asking the fan Circle to loop *Not Your Homie* overnight, padding the playlist so *"spotify think[s] that its a real playlist too."* The double-bind is the pathos: to *escape* the Circus, the Circle *runs* the Circus — the anti-spectacle artist meticulously gaming the spectacle. Mechanics grounded; the irony-reading is interpretation. See [[Concepts/The Circus]], [[Concepts/The Algorithm]], and [[Concepts/The Realm]] (the parallel distribution world built to route around the gatekeepers). > [!note]- The interpolation method, and which singles crossed over > The era runs the catalogue's **inherited-substrate** method straight through the singles — Rockwell on *The Watchers*, Bricusse & Newley on *Bad Feeling*, a Phil Collins allusion (*"coming like a drum / from 1981"*) in *All My Friends* — the same *"participating in an older song"* move the debut used with Chaplin and *33* used with Joni. See [[Concepts/Inherited Substrate]]. And a hub-defining tension: **which singles crossed onto the album and which didn't.** *Crossed* — [[Bad Feeling (Oompa Loompa)]] and [[Not Your Homie]]. *Stayed off* — [[LOOP]] and [[Ballerina Boy]], both load-bearing to the mythology yet deliberately left outside the record they prepare. That the off-album placement is itself meaningful is a reading, not a stated fact — but it's hard to miss. ## Source notes - **Grounded (released music, credits, public interviews/posts, official videos).** Release dates, labels, and credits where confirmed; the [[Good Time (1-08)|Good Time (1:08)]] dream-story and 2023 iconography (Roy's own TikTok); *Shine*'s stated intent (American Songwriter, 2020); the *Ballerina Boy* wound (lyric + a public interview + the Masquerade venue bio); the [[dumbledore]] gatekeeper saga and the *Warner/Atlantic* drops (public posts); the credited interpolations (Rockwell, Bricusse & Newley); the *LOOP* sole-writer credit and break-the-loop framing; MERCY's origin of the *Not Your Homie* hook; the Dylan caption naming *"serve somebody"* on the album; the public [[The Interview|Roy v Lucius]] series. - **A transcription flag for future editors (*Shine*).** Some lyric providers mis-transcribe a single word in *Shine* — *"gender of my generation"* — as a celebrity **surname**, and an outside analysis once built a "buried pun" on that error. The correct word is *gender*; the misread word is wrong and should never be quoted. Flag the error, don't reproduce it — noted here because it's a recurring contamination risk. - **Strong readings.** The slow assembly of Lucius as accumulation-not-arrival; the *Good Time* dream-as-song mapping and its anti-witnessing beat; the El Roi / [[Concepts/Witnessing vs Surveillance|witnessing-vs-surveillance]] axis on *The Watchers*; the Rockwell-parable overdetermination; the loop/dream light-dark pairing; LOOP and Ballerina Boy as load-bearing off-album pieces; the replication thread seeded in the 2023 singles. Grounded in the material, but interpretive. - **Held / hedged.** Collab songs (*tomorrow*, *Life Is Good*) where the spiritual or thematic frame may be co-authored; the *why-off-album* significance (no public statement); the esoteric harmonics, kept as framework, never authorial intent. - **Honest gaps.** The 2019–2021 stretch is thin. *The Circle: The Great Jagwar Myth* has no page yet. Several 2025 EP tracklists (*MAGIK*, *SideQuest*, *dumbledore*) and some lyrics are aggregator-sourced, pending a streaming stable-check. This page will grow as the between-album gaps fill in. ## Read next - [[33|33]] — the album this run follows. - [[Lucius Lullaby (album)|Lucius Lullaby]] — the album this run prepares; where the assembled figure is handed the microphone. - [[Sir Lucius]] — the figure that comes together across these singles. - [[The Interview]] — the 2025 theatrical series that staged the Roy-versus-Lucius drama before the album. - [[Concepts/The Loop and the Circle]] — the concept *LOOP* makes explicit. - [[Ballerina Boy]] — the childhood wound at the center of the catalogue.