Steve Lieberman—better known as “The Gangsta Rabbi”—delivers another unapologetically chaotic release with Meet the Gangsta Rabbi (44/82) Opus166. This EP is an unfiltered barrage of noise, raw energy, and reckless experimentation. True to its punk roots, the lyrics are nearly impossible to decipher, buried under layers of distortion and relentless instrumental clamor. But in Lieberman’s world, that’s not a flaw—it’s a feature.
Like a warped hybrid of Death Grips, Captain Beefheart, and a klezmer band on speed, Lieberman’s sound is all about pushing boundaries. The DIY production doesn’t just feel rough around the edges; it’s jagged to the core, amplifying the punk ethos that prioritizes raw emotion over polish. The lyrics are buried so deep in the mix that catching even a fragment feels like stumbling upon a secret. But does it matter? Not really. In true punk fashion, the words are less important than the primal energy they convey.
The EP kicks off with “Skinheads in My Yard Oy Vey Entr’acte 176,” a noisy, chaotic anthem that feels like a riot in your headphones. Lieberman’s distorted basslines drive the track, while flutes wail in the background, creating an abrasive yet strangely hypnotic soundscape. What he’s yelling about is anyone’s guess, but you can feel the urgency—and that’s what counts.
“Gangsta Rabbi (Entr’acte 173)” is a self-referential highlight that doubles down on Lieberman’s signature style. The bassline thrashes with relentless aggression, while occasional flute riffs cut through the noise. The vocals are completely indecipherable, but the track radiates defiance. It’s less about what he’s saying and more about the way he’s saying it. “Little Kosher Girl – Entr’acte 175” all but slows things down with a mad-dash undercurrent buried under the chaos. The tender-sounding title is at odds with the track’s abrasive execution, creating a fascinating tension.
Again, the lyrics are lost in the mix, but the emotion bleeds through in the performance. “5 Little Puppies – Entr’acte 171” is a noise-punk nursery rhyme for the unhinged. The title suggests whimsy, but the track itself is heavy, discordant, and impossible to pin down. Lieberman layers thundering bass with shrieking wind instruments, making it an oddly joyful cacophony.
Closing things out, “Fans, Auditors and Hoes – Entr’acte 167” is a full-on assault of distorted sounds, clattering percussion, and Lieberman’s signature vocal intensity. It feels like a mission statement for the EP: chaotic, messy, and utterly uncompromising.
Lieberman’s choice to bury his vocals deep in the mix feels deliberate. The almost indecipherable lyrics fit right into the punk tradition, where raw delivery trumps clarity every time. His voice becomes just another instrument in the chaotic symphony, blending into the frenetic layers of distorted bass, flutes, and percussion. The result is a sound that feels overwhelming yet strangely cohesive, like punk rock’s answer to free jazz.
Meet the Gangsta Rabbi (44/82) Opus166 is a wild ride that demands your full attention or your complete surrender. Steve Lieberman’s music isn’t about accessibility or radio-ready hooks; it’s about unfiltered expression, the kind of chaos that feels both cathartic and exhilarating. The unintelligible lyrics only add to its mystique, turning the EP into a puzzle you don’t need to solve to enjoy.
For fans of aggressive, experimental noise-punk, this EP is a must-listen. Steve Lieberman doesn’t just make music—he creates an experience, one that’s messy, loud, and ahead of its time.
Chadwick Easton