Boy Azooga, the psych-flecked musical vehicle for Cardiff’s Davey Newington multifarious musical mission, have announced details of the release of Face Behind Her Cigarette, their debut release for Heavenly Recordings.

Produced by Eddie El Shakarchie aka Dr Ed Boogie, recorded in Eddie’s front room in Cardiff and with hints of Hot Butter’s 1972 synth-pop smash Popcorn, it draws inspiration from the late Nigerian funk overlord William Onyeabor. Talking about the track, Davey said:

This song is basically just a celebration (rip off) of the late great William Onyeabor. I wanted the percussion to be purposefully a bit too loud, maybe by the usual standard. Loads of Onyeabor's percussion is blaring in the mix, but it makes it sound so live and feely. I wanted to create that feeling of being in the room where the music is being played.

The track is accompanied by a suitably freewheeling video directed by local film-maker Toby Cameron ( Davey said:

Hope you enjoy this intergalactic do it yourself green screen hand percussion odyssey as much as we enjoyed making it. For optimum viewing/listening pleasure, watch in full screen with headphones on in low light with high head. Love, Azooga

A prodigous musical talent, Davey Newington is a young man with much musical heritage. One of his granddads was a jazzer who played drums for the Royal Marines. Davey’s dad (violin) and his mum (clarinet) both played, and met, in the BBC National Orchestra Of Wales. Davey himself took up drums at the age of six and also enjoyed orchestral engagement, playing in various Welsh Orchestra’s and Jazz bands as a teenager.

Inspired by his art teacher at school who sent him off to town to buy Can’s Ege Bamyasi, taking inspiration from the likes of Sly & The Family Stone, Caribou, Black Sabbath, Outkast, Van McCoy, Ty Segall and The Beastie Boys and nabbing their name from the 1994 film The Little Rascals, Davey recruited friends Daf Davies, Dylan Morgan and Sam Barnes to form the Boy Azooga live quartet, an ensemble that swings smoothly from filmic instrumentals to a churning, rave-tinged rock that hints at both Can and their progeny in Happy Mondays.