# 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/Jagwar-twin-tomorrow-angle-of-eternity-lyrics) · 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 offered, conditionally, as a doorway (*if* death is just 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 the project's 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. On the Hall of Mirrors' animal ladder *I AM* is the top rung's line: the emanation page copied from Crowley gives station 1 *I AM*, and the swan's line on the way back up is *I was / I am* ([[Hall of Mirrors/The Bestiary - 1 The Swan (Enoch)|Enoch the imaginary Swan]]). With six writers on this song, that is a rhyme across the work, not a claim of design. - **The marked Bird (the cover):** the single's cover carries a winged figure with three dots in a triangle on its chest: the Hall of Mirrors' *Bird ∆* drawing, room 82, whose code is *Triangle resolution*, on a cover titled ANGLE OF ETERNITY (it is pictured on [[Hall of Mirrors/The Bestiary - 7 The Dove (Venus)|the Dove's page]] in the bestiary). Within the work it reads as an earlier drawing carried into a new song, a recognizable figure surviving a change of setting. - **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 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 > [!quote]- Full lyrics<br><span class="jt-drawer-summary">The song's full released lyrics, kept folded.</span> > ``` > 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).** Roy's **letter-mysticism method itself** (consonants = angles, vowels = angels) is grounded (see [[Letters of Creation|The Angels and the Angles]]). The form/breath and logos resonance, the angle → angel echo in this title, and the hologram → doorway → *"I AM"* path-of-return mapping remain interpretive applications. Which layer *this* title foregrounds, angle as perspective or 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.