New York Times describes the DJ's fare as "cleaner and more appreciative of American pop music history than much of the rest.".

[13] Toubin's first professional DJ gig was The Dictators and Lunachicks show at The Back Room in Austin, TX in 1991 while he was still on student radio.

He played guitar in the band Cheezus from 1991 to 1992 and then in the band Noodle from 1992 to 1995 – with whom he toured the US and appeared on the ep's "I Sold Out to Fat Ass" (Rise Records) and "I Had A Wet Dream About the Girls from 90210" (Little Deputy) plus tracks on the compilations Live at Emo's Vol 1 (Rise), Penis Cowboy (Bunkhouse) and World War III (Bunkhouse).

His lead guitar can be found on the singles "Oxymorons"/”Networks" (Scooch Pooch 1996), "X-Ray Eyes"/”Dot to Dot" (Big Jerk 1996), "I Don't Believe in Valentines Day" split with the Primadonnas (Big Jerk 1996), the EP Ventriloquist Con-Artist (Framed 1997) the LP The Hamicks (Creepy Drifter 1999) and the compilations Lone Star Showdown II (Little Deputy 1997), Scooch Pooch Plays Their Original Sins (Scooch Pooch 1997)[15] Toubin was also active in crafting the bands' aesthetics by creating their flyers and booking shows.

[22] On October 31, 2005, Toubin launched the New York Night Train webzine and record label to focus on the life and work of his friend ex-Cramps/The Gun Club/ Nick Cave and the Bad Seeds guitarist Kid Congo Powers and his new band Kid Congo and the Pink Monkeybirds and other underground music by his friends.

[23] His first New York Night Train party was held on March 3, 2006 at Lower East Side venue Tonic, and was a double-record release event for the label's first two LPs Kid Congo's compilation Solo Cholo (NYNT 001) and Kid Congo and the Pink Monkeybirds' debut Philosophy and Underwear (NYNT 003).

[25] Later that month, New York Night Train produced an official South by Southwest showcase at The Velvet Spade (currently the Mohawk) featuring Kid Congo and the Pink Monkeybirds, Viva l'American Death Ray Music, and Toubin's band at the time Cause for Applause.

[26] On March 30, 2006, New York Night Train threw a release party for Grand Mal's "Love is the Best Con in Town" (NYNT 002) also at Tonic.

[27][28] Around this time, Butthole Surfers' Gibby Haynes brought Toubin along to DJ with him at a gig on the South Williamsburg waterfront.

[29] He was also approached by Nation of Ulysses'/Make-Up/Chain and the Gang frontman Ian Svenonius and Beat Happening's Calvin Johnson to organize and promote two DJ gigs for them based on the success Kid Congo's Record Release party.

[23][30] Soon, Toubin was asked to put together a DJ party for a Wednesday night he bartended at the Lower East Side's Motor City Bar.

[5] Building off of the success of the New York Night Train Wednesdays, Toubin started holding larger dance parties at Glasslands in Williamsburg.

[31][32] The next morning at approximately 11:00am, a cab driver was struck with a diabetic seizure and drove her taxi through the windowed wall of Toubin's hotel room, landing atop of him as he lay in bed.

Toubin made a full recovery and was released on January 13, 2012 into a rehabilitation center, where he considered the probability of the end of his life as a DJ.

"[1] Toubin's eschewal of hits and his focus on obscure tracks is also due to his theory that playing more popular songs introduces individual associations to the dance floor and takes away from the newly shared experience that unifies a Soul Clap.

"[19] To maximize the focus on the party aspect of the music, many of the songs Toubin spins reference a trend in the 1950s and 1960s to highlight a particular dance move named after an animal, such as "The Monkey" or "The Dog.

"[35] New York Night Train initially started off as a record label in 2006 releasing albums until 2009 when Toubin decided to focus his energies on nightlife.

They settled it in front of all on the dancefloor, leading Toubin to dedicate one night a month to a dance contest, while playing exclusively soul music.

"[36] Toubin attributes the success of his parties to the fact that they offer a unique musical experience to a broad audience of sub-cultures.

Toubin consciously looks to build a bridge between music scenes through events like Soul Clap, remarking "...art girls and Brooklyn rock boys make a great mix if you can get 'em on the same dance floor.