Behind this codename is Tom DARNAL, sound and image researcher on civvy street, band
leader on stage and (well) accompanied by a plethora of contributing artists in general. Tom
begins his musical adventure in 1982 with the totally forgotten band GPS whose track
"Quand revient l'été"nevertheless remains in Les Inrockuptibles' top 10 French punk singles
of all time!! In parallel, he diverts into graphic art and soon becomes creative director and
designer for Mano Negra's iconography before joining the band .boards.
The last days of Mano coincide with the first steps of P18 in Patchanka's basement in the
heart of the 18th district of Paris with the recordings of Drum & Bass inspired Electro
musicians. Their first album "URBAN CUBAN" is released in 1999 and gives birth to one of
the first electro and world music fusions, an experience which owes its authenticity to the
collusion with Barbaro Teuntor, a Cuban trumpeter which he met during Mano Negra's South
American tour in a cargo ship, and his family who dunked Tom into the traditional repertoire
of music from Havana.
A group consisting of musicians and dancers, both French and Cuban, is created before Tom
& P18 set out on a series of tours taking the band across the planet from Europe to Cuba to
the USA and China. P18's music was at the time widely used as soundtracks for mainstream
Hollywood films such as the Yard, Maid in Manhattan, Chilli con Carne… and was to
contribute to the band's growing reputation.
In 2002 "ELECTROPICA" was released and received unanimous acclaim from the critics.
Tom pushes on with the electronic experiment whilst remaining at the service of traditional
Other tours follow, "Never mind how long the road is, we'll go round the world"… until 2004.
Then there is a break period where Tom works on a diversity of projects, as director (Dvd
Mano Negra) or composer (soundtracks for films and documentaries).
Active collaboration with Thomas Martinez leads to sowing the seeds of "Viva P18", the
band's new opus. Tom returns to a more traditional concept in the treatment of the Afro-
Cuban repertoire, characterised by the funky trademark that constitutes one of the key
elements of his style.