# tomorrow (ANGLE OF ETERNITY) > **One-line reading.** A threshold-anthem of remembrance: standing in the doorway of mortality, the song keeps *subtracting* certainty instead of arguing for a doctrine — until the only thing left standing isn't *"I know"* but *"I AM."* > [!info] Album & credits > **Release:** standalone single (not on an album), 2024 · **Big Loud Records** > **Billed as** Jagwar Twin & lovelytheband > **Written by** Simon Oscroft, Evan Ambrose, Roy English, Mitchy Collins, Sam Price & Sunset Party (a six-way co-write; all six credited composer *and* lyricist) > **Produced by** Simon Oscroft, SAMESAME, Evan Ambrose & Roy English · **Mixed by** Jeff Ellis · **Mastered by** Dale Becker > **Full lyrics:** [Genius](https://genius.com) · streaming > **▶ Listen:** [Visualizer (YouTube)](https://www.youtube.com/watch?v=CHke5ZlDVP4) ## At a glance - **Era / release** — Standalone single, 2024, on Big Loud Records. Not attached to any album; billed as a **Jagwar Twin × lovelytheband** collaboration. (Roy and lovelytheband have real history — he toured with them back in 2019, so this is a reunion, not a cold studio pairing.) Its official visual is a July 2024 *Angle of Eternity* visualizer that Roy captioned as **made by AI** — which quietly makes the song a node in his ongoing digital-double thread. - **In one line** — Death recast as a doorway, life recast as remembrance, reality recast as a hologram — and presence as the one floor that never drops out. - **Who speaks** — [[Roy|Jagwar Twin]] as the **guide** who takes your hand and walks you through the doorway, in duet with **lovelytheband**. Hold the attribution *lightly*: with six credited writers, the spiritual frame is co-authored, not pure-Roy. The song's real foil, [[Sir Lucius]], never appears in it — he's the contrast the *"I AM"* is measured against, off-page. - **Key symbols** — the doorway · the hologram (→ [[The Veil — The Deep End]]) · the angle · *"I AM"* · the outstretched hand. ## The song, mapped The title is a two-register joke on itself: a hushed lowercase *"tomorrow"* set against an uppercase, almost liturgical *"(ANGLE OF ETERNITY)."* (Spotify brackets it — *tomorrow [ANGLE OF ETERNITY]*; this guide uses parentheses so the filename behaves.) The small word is the mortal one; the big words are the eternal frame around it. Structurally this is a **dissolution, not a build.** Most anthems climb toward a claim; this one keeps *removing* floors — of certainty, then of death, then of reality itself — and lets you discover that presence is the ground underneath all three. Follow its own moves: | Move | In the song | What it does | |---|---|---| | **The refrain** | *"we might not get tomorrow"* (recurring) | States the mortality premise as a plain fact, not a metaphor. This is the line the one-word title is lifted from — the whole song hangs off it. | | **1 · Surrender of certainty** | *"maybe I don't know, I don't know"* → *"and that's fine with me"* | The opening gambit isn't a thesis — it's letting go of one. Doubt, then *equanimity* about the doubt. | | **2 · The surrender hook** | *"if we live like we ain't gonna die"* | An *if*-conditional that **releases** the ego — the exact structural mirror of [[Playing to the Gods]]'s clutching *"if I make it out alive, then I'm never gonna die."* | | **3 · The doorway** | *"if death is just a doorway… where you goin'?"* · *"do you remember?"* · *"take my hand, I'll help you remember"* | Death reframed from ending to passage. The speaker steps into the **guide** role, leading you through by helping you *remember* — not by teaching you something new. | | **4 · The hologram** | *"we're all holograms / but even if that's all we are…"* | Reality reframed as projection — then the *"even if"* refuses the nihilism the line seems to invite. | | **5 · The resolution** | *"I AM"* → *"(I am, I am, I am)"* → *"(I am ×7)"* → *"I AM"* | The song does **not** land on a proposition. It lands on **presence.** The outro chant visibly stacks and accumulates toward the end — being, repeated until it's the only thing in the room. | One line the song throws off and doesn't unpack — *"in a war that I lost and won"* — points at surrender-as-victory (you win by laying the weapon down), and is best left as an open image. Every reframe above pulls a floor: *I don't know* → *death is just a doorway* → *we're all holograms.* What's left when the floors are gone is bare being. ## What it means **Remembrance, not attainment.** *"Do you remember?"* and *"take my hand, I'll help you remember"* make the song's salvation *recovered*, not *acquired* — you're not being sold enlightenment, you're being reminded of something you already are. It's the old anamnesis move (Plato's *"all learning is recollection,"* the Gnostic wake-up call), and it's not a one-off: it's a pattern across the confirmed catalogue. [[The Circle]] — *"the wise one remembered she once held the string."* [[Soul Is A Star]] — *"do you know who you are?"* And here — *"do you remember?"* Three songs, one gesture: the answer was never out there to be won; it was in you to be recalled. The speaker's job is the psychopomp's — take the hand, walk them through. **Surrender versus survival.** The [[Playing to the Gods]] mirror is the cleanest structural rhyme in the catalogue. Both songs run the same machine — *if [condition] → deathlessness* — with opposite engines. Lucius clutches: *"if I make it out alive, then I'm never gonna die"* — a counterfeit immortality bought *on condition*, ego white-knuckling itself in fear. tomorrow lets go: *"if we live like we ain't gonna die"* — and finds you were never at risk in the first place. Survival-clutch versus surrender; the fist versus the open hand. **"I AM" is the divine name.** The outro reads as the name given at the burning bush — Exodus 3:14, *"I AM THAT I AM,"* the self-existent one — carried across Western esotericism as the signature of the divine spark. Set that against Lucius's boast in [[Welcome to the Circus]], *"I'm the one they're talking 'bout":* identity rooted in **source** versus identity rooted in **audience.** One needs no witness to exist; the other evaporates the moment the room empties out. (Because this is a six-way co-write, the *pure-Roy* authorship of that frame stays hedged — but the word itself is independently attested in Roy's own public voice: in March 2026 the Jagwar Twin account posted, simply, *"I am."*) **Holograms aren't fakeness.** The easy misread is nihilism — *we're all holograms, so nothing's real.* But a hologram is precisely *structure that encodes and projects deeper information*: the visible form is an *expression* of something realer, not the whole of it. So the line is far less bleak than it sounds, and the tell is the speaker's calm — *"but even if that's all we are…"* No panic. Compare [[LOOP]] or [[Bounce]], where the simulation is *dread*; here the projection is fine, because the presence underneath it (*"I AM"*) is secure. You can be a hologram and still be the light doing the projecting. **The angle is the point of view.** The title's *"angle"* reads first as **perspective** — the whole song is asking *how are you looking at this?* From fear, mortality, separation — or from eternity, remembrance, presence? *"If death is just a doorway, where you goin'?"* changes meaning entirely depending on where you stand: the doorway is fixed, your **angle** onto it is not. And the doubt never actually resolves — *"maybe I don't know… and that's fine with me"* **holds** both poles rather than eliminating one, which is exactly why the song reads *mature* rather than merely inspirational. It ties to [[Concepts/Duality]]: certainty and mystery are just one more polarity to hold open, like life and death, rather than a problem to solve. ## Characters - [[Roy|Jagwar Twin]] — the **guide / psychopomp**: the one who says *"take my hand, I'll help you remember"* and walks you through the doorway. Attribution held lightly — six credited writers means this voice is co-authored. (Roy is credited composer, lyricist, producer, and vocalist here.) - **lovelytheband** — the collaborating band and co-voice (credited vocals, bass, drums, guitar; **Mitchy Collins**, their frontman, is also a credited vocalist). Who sings *what* — the verses, the doorway bridge, the *"I AM"* chant — isn't publicly confirmed, and it genuinely changes the geometry: two voices could be singing *to* each other, *to* the listener, or in unison as one. - [[Sir Lucius]] — **not in the song**, but its structural foil. tomorrow's source-identity (*"I AM"*) is the exact photo-negative of Lucius's audience-identity (*"I'm the one they're talking 'bout"*), and its surrender is the negative of his fearful clutch. He's the shape this song is defined *against*. ## Symbols - **The doorway** — death as threshold, not terminus: *"if death is just a doorway… where you goin'?"* The door doesn't move; your angle onto it does. - **The hologram** — form as the *projection* of deeper information, not the sum of the real. Less "fake" than "expressed." Ties to [[The Veil — The Deep End]] (the world as holographic illusion). - **The angle** — perspective, orientation: whether you're looking from fear/separation or from eternity/remembrance. - **"I AM"** — the divine name (Exodus 3:14); the audience-independent, self-existent identity. The song's terminal symbol — presence itself, with nothing behind it. - **The hand** — *"take my hand, I'll help you remember."* The guide's gesture; the psychopomp's grip that leads you through. ## Connected songs - [[Playing to the Gods]] — the fear-based **foil**: counterfeit immortality *on condition* versus surrender. The single cleanest structural mirror in the catalogue. - [[The Circle]] · [[Soul Is A Star]] — the **remembrance** pattern: salvation *recovered*, not acquired, across three confirmed songs. - [[LOOP]] · [[Bounce]] — the **contrast**: where these *dread* the simulation, tomorrow *accepts* the hologram and transcends it by remembering. - [[Welcome to the Circus]] — the **identity** contrast: source-self (*"I AM"*) versus audience-self (*"I'm the one they're talking 'bout"*). - [[Concepts/Duality]] — uncertainty held as a **polarity**, not eliminated. - [[The Veil — The Deep End]] — holographic illusion; form as projection. - [[Life Is Good]] — the **deepest cross-link**: both songs refuse certainty and ideological possession and choose presence instead — tomorrow spiritually (*"and that's fine with me"*), Life Is Good playfully (*"too happy to choose"*). Same underlying question: how do you stay human when the world is too much? - [[Good Time (1-08)]] — the **uncertainty kinship**: *"I don't know what I'm looking for,"* held *without* grabbing a false answer, sits Good Time closer to tomorrow than to a party anthem. (Lucius is the psyche-part that *can't tolerate* not knowing; both songs are the anti-Lucius confession.) - [[Concepts/The Digital Double]] — via the AI-made *Angle of Eternity* visualizer (July 2024), tomorrow joins Roy's documented AI / digital-double thread. > [!note]- Advanced reading — form and breath, the logos, and the tree of return > The *"holograms… but even if that's all we are… I AM"* movement gestures at an old distinction: between the **form** and the **breath** that animates it — the vessel and what fills it. Re-grounded on the *public* word-creation tradition — John 1's *"In the beginning was the Word,"* Genesis's *"let there be,"* the widespread idea of vibration-as-creation — rather than any private framework. A thin optional anchor sits in Roy's own paratext: a January 2023 post about *"cutting the angles with my tongue… Amen"* — speech as the act that shapes reality. Kept light; don't overload one tweet. > > The title's **angle → angel** pun now has firmer footing: the consonant/vowel letter-mysticism *is* Roy's stated compositional method (see [[Letters of Creation|The Angels and the Angles]]). Even so, in *this* title the **angle** reads first as **perspective / orientation** — the doorway is fixed, your angle on it isn't — with the **angel** echo riding on top as the lighter, optional layer. The method is cleared; which layer this particular title foregrounds stays a reading. > > Read as an ascent, the song's own sequence loosely traces a path of return: the **hologram** (the projected, physical) → the **doorway** (the passage) → *"I AM"* (the source). Emanation running backwards, form climbing home to being. Framework-imposition, kept as resonance, not claim. > [!note]- Advanced reading — the darker counter-read (the title as category error; tomorrow as the carrot) > The polished reading above takes the song at its sincere word. But there's a sharper, more ironic angle worth preserving as a genuine counter-read. On this view, *"ANGLE OF ETERNITY"* is itself the **category error** — the mind's doomed attempt to *geometrize* what can't be bounded, to put a protractor to the infinite; a soul described from *outside* the loop by a faculty that can only ever see angles. And *"tomorrow"* becomes **temporal deferral** — the thing that never actually arrives inside a closed system, the promised day the Circus dangles precisely so it never has to deliver it. In this key, *"we might not get tomorrow"* isn't a memento mori — it's the system's structural bad-faith stated plainly. So: is *"tomorrow"* **sincere hope**, or the **never-arriving promise** the machine runs on? The essay-tradition reads it as sincere threshold-remembrance; this darker Circus/Loop reading is held open alongside it, because the song genuinely supports both. > [!note]- Advanced reading — the un-folded cross-era pairings (death-mantra, soul-plan) > Two connective threads live in this guide's working notes but haven't yet been argued out in the individual song pages, so they're flagged here as *leads*, not conclusions. First: tomorrow pairs with [[Playing to the Gods]] and [[City of Angels]] as a **death-mantra contrast set** — three songs circling mortality with very different postures (surrender, clutch, and elegy). Second: tomorrow pairs with [[Imagine A World]] as a **soul-plan thread** — the sense of a life or soul that arrived with an itinerary. Real connective tissue, currently resting on the harvest note rather than a full reading; surfaced so it isn't lost. ## Lyrics ``` Best I can tell I still don't know what I'm saying I like to talk, but I don't say much I wished you well, I still don't know why I'm praying I'll learn to walk, but I'm in no rush Maybe I'm starting to see Every star we could be Maybe I don't know, I don't know And that's fine with me We do the best that we can Maybe we're part of some plan Maybe we don't know, we don't know We're all holograms But even if that's all we are Oh We might not get tomorrow Just close your eyes Let it go Right here Together we know If we live like we ain't gonna die Then we won't We might not get tomorrow Just close your eyes Let it go Right here Together we know If we live like we ain't gonna die Then we won't When I go on, I'll leave problems like you left me Been here before, now my heart's switched on But I won't tiptoe, I got scars, I got the bloodstains In a war that I lost and won Maybe I'm starting to see Every star we could be Maybe I don't know, I don't know And that's fine with me We do the best that we can Maybe we're part of some plan Maybe we don't know, we don't know We're all holograms But even if that's all we are Oh We might not get tomorrow Just close your eyes Let it go Right here Together we know If we live like we ain't gonna die Then we won't We might not get tomorrow Just close your eyes Let it go Right here Together we know If we live like we ain't gonna die Then we won't If death is just a doorway Where you goin'? You came here with a plan Do you remember? If death is just a doorway And you know it Wipe your tears Take my hand, I'll help you remember (O) I AM (I am, I am, I am) I AM (I am, I am, I am, I am, I am, I am, I am) I AM (I am, I am, I am) I AM (I am, I am, I am, I am, I am, I am, I am) I AM ``` ## Source notes - **Grounded (released music, credits, public posts, official video).** The 2024 release on Big Loud Records; the Jagwar Twin × lovelytheband billing and full six-writer credit (including Roy English as co-writer and co-producer); the recurring *"we might not get tomorrow"* refrain and the escalating *"I AM"* outro; the *if→deathlessness* mirror with [[Playing to the Gods]]; the remembrance pattern across [[The Circle]] and [[Soul Is A Star]] (all on verified lyrics); the July 2024 *Angle of Eternity* visualizer captioned by Roy as **made by AI**; the March 2026 *"I am"* post from the Jagwar Twin account. The lyric is streaming-verified and stable — earlier "wording not confirmed" hedges no longer apply. - **Strong readings.** Remembrance-not-attainment as the lead; the surrender-versus-survival mirror; *"I AM"* as the Exodus 3:14 divine name set against Lucius's audience-boast; holograms as projected information rather than fakeness; the angle as perspective; uncertainty held as an integrated polarity; the Life Is Good and Good Time kinships. Grounded in the material, but interpretive — labeled as such. The *pure-Roy* authorship of the spiritual frame is deliberately hedged: this is a six-way co-write. - **Framework (esoteric, tradition-correspondence).** The form/breath and logos resonance (re-grounded on John 1, Genesis, the word-creation tradition); the angle → angel echo as a harmonic the tradition permits; the hologram → doorway → *"I AM"* path-of-return mapping. The system *permits* these; it does not claim Roy intends them. The **letter-mysticism frame itself** (consonants = angles, vowels = angels) is **this guide's reading** of a documented tradition the work visibly engages (see [[Letters of Creation|The Angels and the Angles]]); which layer *this* title foregrounds (angle-as-perspective vs. the angel echo) is likewise a reading. - **Open questions.** Who sings what across the duet — verses, doorway bridge, the *"I AM"* chant (at least three vocalists are credited, but the split isn't public). What *"a war that I lost and won"* refers to. Whether the *"ANGLE OF ETERNITY"* title is Roy's framing or a collaborative one (the six-way credit means it can't be assumed pure-Roy — which is exactly what gates how hard the angle/angel resonance can be pushed). And whether *"tomorrow"* functions as sincere hope or as the deferred, never-arriving promise of the closed system. - **A note on the paratext.** There is no rich "artist explains the song" interview for this specific single — the available paratext is thin, mostly the AI visualizer and streaming. Worth stating plainly, because it's why so much of the reading here leans on the *text itself* and its rhymes with the wider catalogue rather than on Roy's commentary. - **A note on tone.** Unlike the Lucius-voiced catalogue, tomorrow is played entirely straight — no satire, no absurdist beats, no wink. The closest thing to lightness is the *maturity* of *"and that's fine with me":* equanimity, not a joke. The song earns its weight honestly, and it's read that way here. ## Read next - [[Playing to the Gods]] — the fear-based mirror: the clutch that this song's surrender is measured against. - [[The Circle]] — the companion remembrance-cosmology; *"she once held the string."* - [[Welcome to the Circus]] — Lucius's audience-identity, the photo-negative of *"I AM."* - [[Life Is Good]] — the deepest cross-link: refusing certainty and choosing presence, in a lighter key. - [[The Veil — The Deep End]] — the hologram, the projection, the world as screen.