Martin played his first "DJ-Set" at the age of 13, although that term hardly existed back in the days. That was at a class party in his local secondary school, and the hardware was a bunch of self-recorded tapes and two and a half tapedecks (the "half" one was used as an additional rewind device). It is lost in history whether a mixer has been used at all, but as it was 1983, post-Punk, Wave and Synth-Pop was the order of the day, and as everybody else there also just was 13 years old, nobody really cared anyway.
But there was no way back after this one magical moment. The same year at christmas, Martin got his first turntable (a korean no-name compact music center made from plastic, to be honest) and his first three records: "Undercover" by the Rolling Stones, Irene Cara's "What a Feelin'..." and the best and totally underrated album from The Police - "Zenyatta Mondatta".
In the following years, Martin developed a temporary and sometimes also simultaneous love for almost every musical genre he could get his hands on at the local record store - including Classic Rock, Disco, Punk, Bossa Nova, Gothic, Reggae, Funk, Soul, Metal, Rap, Ska and World Music (to name just a few). As a restless wanderer between such different scenes, he annoyed all of his friends with crappy mixtapes and he also quickly managed to get blacklisted and banned from every major club of his hometown Lübeck, leaving him with no other choice than to fall back to underground locations there or to travel the long distance to Hamburg for the weekends.
But 1987 changed everything. Acid House arrived in the german provinces, and for the first time, Martin focused not only on one single genre, but also exclusively on electronic dance music. And this was in the same year that Martin played his first gig in Hamburg's Acid House temple Grünspan, which did not happen, because he was not even old enough to enter the club as a visitor. Some years later, he was more successful some 100 meters further down the road in Hamburg's red light district when he finally got booked to play at the Tiger Bar, which was closed due to bankruptcy before the first date.
More years with changing addictions to various styles of electronic dance music followed - there was Techno, then Trance, then there was Jungle, then there was Ambient, Chill Out and Trip Hop and then there was again Jungle, but this time they called it Drum'n'Bass, respectively Liquid Funk (at least that sub-genre which was different from white noise). During those days, Martin also produced a lot of tracks under his monikers "Airpark", "The Empire of the Sun" and "Deep Blue Light", which of course, due to lack of any noticeable quality, had to remain unreleased after being kicked from the mastering studio. Anyway, mp3.com was an exception and does not count, because they did not check for quality before releasing.
Finally, after having spent some years in the Drum'n'Bass scene, he decided to start playing the deep and technoid side of Dubstep under his moniker "Airpark". Today, his real love still belongs to everything dubby, but with a slightly happier attitude, thus his current obsession is what he calls "Deep Dub House".
Martin Tews’s tracks