Marcus Lambkin began DJing in 1992 after moving to NYC from Dublin. There he got together with some friends to play dance music on a Sunday night at the now famous rock venue, Brownies. After learning the ropes at Brownies, Marcus made a mix tape and handed it out to three venues in the hopes of getting some work. He got three gigs, which went on to become two residencies. ...show more

Marcus Lambkin began DJing in 1992 after moving to NYC from Dublin. There he got together with some friends to play dance music on a Sunday night at the now famous rock venue, Brownies. After learning the ropes at Brownies, Marcus made a mix tape and handed it out to three venues in the hopes of getting some work. He got three gigs, which went on to become two residencies.

One of which was the now legendary Save The Robots, where Marcus was resident for 2 years. During this time Marcus met fellow Irishman Dominique Keegan and formed Plant Records, Plant Saturdays and Plant Bar. The latter went on be called the "coolest and loudest bar in New York City" by face magazine (10/02). It was at Plant Bar that Marcus and DFA's James Murphy started the Shit Robot party, named after James' crap robot drawing...

In 2004, Marcus left Plant to work independently and moved to Stuttgart with his wife. In April 2006 'the wrong galaxy' and 'triumph!!' 12" was released on DFA records and since then Marcus has been DJing around the world including his new favorites Japan and Brazil. Career Working as a DJ in New York in 2000 he befriended James Murphy later of LCD Soundsystem and started a DJ partnership with him.[2] Lambkin moved to rural Germany in 2004 and started producing his own music, with a number of releases on DFA Records from 2006.[2] He released his debut album From the Cradle to the Rave in September 2010 to positive reviews from Entertainment.ie[3] and NME[4] The album features contributions from Alexis Taylor of Hot Chip and James Murphy amongst others.[2] Lambkin remains somewhat of an analog loyalist, sticking mainly to vinyl when playing out. This attitude is reflected in the sound of the album, a dark and beautiful record that harks back to the early days of dance music. ...show less