{"id":2,"date":"2016-09-16T13:07:21","date_gmt":"2016-09-16T13:07:21","guid":{"rendered":"https:\/\/noheadmusic.co.uk\/?page_id=2"},"modified":"2026-08-11T17:04:50","modified_gmt":"2026-08-11T17:04:50","slug":"about","status":"publish","type":"page","link":"https:\/\/noheadmusic.co.uk\/","title":{"rendered":"Nohead Music"},"content":{"rendered":"

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Welcome<\/strong>.<\/p>\n

English\/Irish composer, singer, songwriter owner of an Indie label Nohead Music.<\/span><\/p>\n

I have written and recorded material in English,Japanese,Spanish and Portuguese and placed music in T.V, Film Radio and Theatre.<\/span>\n<\/p>\n

Me, Myself, and I \u2014 Notes on Future Child<\/h3>\n

\nI have Fun songs interesting songs, I don’t write Pop. Not as a stance \u2014 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.<\/p>\n

Surrealism.<\/strong> Not as decoration \u2014 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<\/em> is a touchstone: a film built from separate dream sequences by different artists \u2014 Duchamp, Man Ray, L\u00e9ger, Ernst \u2014 stitched into one work. That’s close to how Future Child<\/em> is put together: distinct pieces, distinct registers, one throughline.<\/p>\n

Satire.<\/strong> 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” \u2014 inequality, debt, and ownership handled as targets, not lectures.<\/p>\n

Latin, flamenco, Afro-Cuban music.<\/strong> Rhythm as body, not just backing track \u2014 a physical pulse under material that could otherwise sit entirely in the head.<\/p>\n

Cinematic cartoons, Saturday matinee serials, 1960s cinema, comics.<\/strong> 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.<\/p>\n

What that adds up to<\/strong>
\nFuture Child<\/em> 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 \u2014 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.<\/span><\/p>\n

If something in the show feels like it swerves \u2014 from a satirical ledger of debt into a two-voice alien transmission, into a piece about the sheer improbability of being alive at all \u2014 that’s not inconsistency. That’s the actual shape of how I hear things.<\/p>\n

FUTURE CHILD<\/b><\/p>\n

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