the poetry that matters

Jeremy Czerw

Jeremy Czerw is from upstate New York, and graduated from the State University of New York at  Buffalo where he took poetry courses with Charles Bernstein. He currently lives in New York City, where he works as a librarian and occasionally organizes poetry events for The New York Public Library. His writing has appeared in Venereal Kittens, Death Metal Poetry, Horse Less Review, and Disaster!, and is forthcoming in Sink Review. He is at work on a chapbook called Awesome Farm.



Covered in Popsicle remnants,
the buildings of close-in Midtown

refuse their lights "where optically

pure sailboats emerge to dissolve

on an austere line."




in curtsy

in windows
in theater       
             old soul you always are

seeping of states

        Whitman's Samp

     screen ll of sand




Trammeled Windows
The demographic is ice cream made from models?  Can belief 'tone' money?   and formulating shelter porn as a chance to promulgate in your pajamas, or flaxon weevils in your underpants, or tissue jeremiads with your certainty, or just stick a shiny naked ass in an oligarch's trout pond.  It just sits there, being a cock.  There is so much objects in gourmand wastepaper yous can Jordan it all the way to Cabrinis.  Belly fat is the Germanic meanderings in search of a fishy fishy--nothing but nets to catch these slaves.  Porno teeth grit gently.  A gumming.  LifePath Corp.  Animals in casinos.  The woman as maximalista shock-troop in halls of praxis.  Where it's lemon all day and Blackwater on the beach all year longe.  Fratty Fatty chops sockets into grog garnish.  Drink up; it's a cage match, a Studebaker, a Jill of Turnovers, a studly Stutt preening its grovenings.


Something that’s crunchy and something that’s clean. I use a ’64 50-watt Plexi with an 8x10 Marshall cabinet, a ’69 Marshall Super Bass Plexi head, plus a couple of Dual Showman amps with two 15s. I also have a ’50 Bandmaster Tweed with original Jensens that smooths out and melds the sounds together. There are other amps we use onstage too. In the studio, I’ll use a Fender Champ or an old Epiphone amp with an 8" speaker.  I’ve got a Fulltone Echoplex reissue, a Fulltone Ultimate Octave, an Electro- Harmonix Holy Grail Reverb, a blue Line 6 Modeler, a green Line 6 Delay, an Ernie Ball volume pedal, a DigiTech Whammy pedal, an original Klon Centaur, a Jimi Hendrix Signature Cry Baby wah and other stuff. The pedalboard is pretty extensive. One of the coolest things I have on there is an actual siren built into a pedal.  That is a Screamer. That’s why we didn’t use the “Boost” button on the amp―using the Screamer will be a bit more subtle for the tone we’re going after in this tone.  Brad takes a great approach that combines the pure fat tone of a guitar plugged straight into a Marshall and mixes that with a stereo wet signal running two other amplifiers and cabinets. The dry signal Marshall is an original 1969 100 watt “plexi” Super Lead. It is set with the channels “linked” in normal fashion, where the guitar runs into the top of the treble channel I and then links the bottom of that channel into the top of the bass-enhanced channel II. When asked about the typical settings used for the amps and the Hot Plates, Greg Howard replied, “The Marshalls are both run through 16ohm THD HotPlates set at 12db. The volumes on both channels are run at about 6. I'd say they achieve a medium saturation. Tones are set for a slightly bright tone, so as to not be woofy. Brad employs the 'light touch, volume roll down technique', as well as the 'dig in hard for more grind technique'. Remember, this guy was doing it way before master volume was invented."

The Common Wisdom

the common wisdom was that something
    about the urban condition
itself was beyond repair 
    so we prepared 
tulips and a hairdryer
    sushi and maple bluffs
in case we wound up
wading in the lake



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