Welcome.
English/Irish composer, singer, songwriter owner of an Indie label Nohead Music.
Terence has written and recorded material in English,Japanese,Spanish and Portuguese and placed music in T.V, Film Radio and Theatre.
Me, Myself, and I — Notes on Future Child
I don’t write pop songs. Not as a stance — as a consequence. The music comes out of a specific mix of things I’ve been raiding my whole creative life, and pop was never one of the ingredients.
Surrealism. Not as decoration — as logic. The surreal has always made more sense to me than the literal, the way a dream doesn’t need to justify its cuts. Hans Richter’s 1947 film Dreams That Money Can Buy is a touchstone: a film built from separate dream sequences by different artists — Duchamp, Man Ray, Léger, Ernst — stitched into one work. That’s close to how Future Child is put together: distinct pieces, distinct registers, one throughline.
Satire. The sharpest tool for saying something true without saying it flatly. It’s doing the heavy lifting in pieces like “Global Overdraft,” “The Ledger,” and “The Genome Clause” — inequality, debt, and ownership handled as targets, not lectures.
Latin, flamenco, Afro-Cuban music. Rhythm as body, not just backing track — a physical pulse under material that could otherwise sit entirely in the head.
Cinematic cartoons, Saturday matinee serials, 1960s cinema, comics. Pace, cut, and exaggeration. Matinee serials taught me cliffhanger structure before I knew the word for it; cartoons taught timing; comics taught how to compress a scene into a single frame.
What that adds up to
Future Child was never going to be a straight concept album with linking narration. It’s closer to Richter’s dream-sequence structure than to a rock opera — songs, spoken word, and video as separate dream-logic segments, satire sitting next to awe sitting next to cosmological scale, held together by one throughline rather than one genre.
If something in the show feels like it swerves — from a satirical ledger of debt into a two-voice alien transmission, into a piece about the sheer improbability of being alive at all — that’s not inconsistency. That’s the actual shape of how I hear things.
FUTURE CHILD
a story set to music, spoken word and moving pictures exploring what will we become as we grapple with the problems we face living as one on an Island in Space
Thought Provoking for Thinking Audiences.
Cyborg City, Island of Shadows, Deep In the Bones. along with back Catalogue and live recordings
A strike for true Independence. Go Follow
Manfredo
BBC Radio
Josephine Ange Gardien V 2 Comédie Du Bonheur Belgian (SABAM) Films French (SACEM)
Films Swiss (SUISA) Films Viasat History/Viasat Nature Africa Non-Primetime Czech Republic (OSA) General & Broadcasting BJ and the Gang.
Music and sound production on location in India for BJ and the Gang an Anglo/Indian animation production 1999. ‐ Vis Television Services.
Best of Britain Participating company Midem 2000 promoting the best of British music.
Baltic Music Festival British entry for the Baltic Song competition held in Sweden and televised live to the Baltic States.
Pippi. Commissioned by The University of Worcester for the Worcestershire Literature Festival.
Moon Ladder Music and sound design, Children’s Theatre Beeline Festival.
Business Market Research into Japanese market for popular music. Co‐funded by the DTI in 1995 on behalf of Face the Music involving 3 weeks action research in Japan. Research into the South African Market for popular music. A 10‐day field study supported by the Export Market Research Scheme visiting companies in Johannesburg, Durban and Cape Town. Shell Exporting Excellence Regional finalist in 1996 for exports achieved in the music industry Japan, Europe and North America.