I’ve become something of a closeted post-rock fan; pining for the first couple of years when Explosions in the Sky really meant something, trying to avoid the use of the word “crescendo” in casual conversation. Leading a double-life is hard, especially when the genre that turned you into the person you are today has become a clichéd, hollow-out version of its former self. “I don’t want to be that,” I think to myself, “I don’t want to be a cliché of myself.” Nevertheless, when I hear solid post-rock song, I can’t help but bear my soul to the world (or at least to the sliver of Minneapolis’ music community that reads Reviler.)
That’s especially true when the band enlists a couple of members that set down guitars in favor of traditional string or brass instruments. Enter, Group of the Altos. This dodecatet (yeah, that’s right, twelve members) rocks the weeping catharsis like Godspeed You! Black Emperor, Sparrows Swarm and Sing, or A Northern Chorus in their prime, with forlorn strings creaking behind an impromptu ensemble of earnest-to-goodness singers. The Milwaukee-based collective, led by Daniel Spack of Collections of Colonies of Bees and Volcano Choir, combines folk storytelling with epic composition, dragon-breath jazz, and frigid minimalism.
Take a listen to the groups sorta-self-titled EP, Altos, below.
It’s interesting how your expectations can shape your enjoyment of an album. When I listened to Cate Le Bon’s sophomore effort, Cyrk, I did so with a set of expectations. (Or “hopes” might be the better term.) I hoped that Le Bon would pursue an acid-folk direction in the tradition of the ’60s psychedelic Welsh scene that (in part) inspired her (Le Bon is from Wales). Her last record, Me Oh My,struck a fine balance between pop and acid folk, and with Cyrk I was hoping she would do more to tip the scales. Indeed the new record tipped the scales, just not in the opposite direction I was hoping. Cyrk is a collection of pop rock tunes more in the tradition of Stephen Malkmus than Welsh Rare Beat. For a while, this stylistic coup had me convinced that Cyrk was a lesser album. However, free from those oppressive expectations, I might think differently.
While Cyrk may not be as closely aligned with my own tastes as I would like, I have to admit that Le Bon has crafted some pretty fine pop gems. Synthesizer-driven tracks like the titular “Cyrk” and “Fold the Cloth” contain some incredibly catchy hooks, in addition to enough unstructured weirdness to keep them from sounding conventional. “Julia” even features some pure moments of noise freakout.
Le Bon also seems to have found more confidence with the guitar (perhaps in part to sharing a tour with St. Vincent last summer). Lead track “Falcon Eye” demonstrates Le Bon has the chops to take a strong guitar lead, though she still generally leans on the synths for more adventurous forays. “Ploughing Out Pt. 2” is another good example: aggressive but steady guitar licks over a rollercoaster synth ride.
To my great relief, Le Bon hasn’t completely abandoned acid folk either. Her Nico-esque vocals still give very tune a psychedelic vibe, as do her bizarre and occasionally mystical lyricism. “Greta” drips with dreamy, surreal mood, and Le Bon employs a mix of rambling piano chords, trumpets, and her distinctly unorthodox enunciation to great success. “The Man I Wanted” also hums with a low-key, Velvets-vibe that Le Bon makes her own.
Cyrk may not exactly be the record that I was hoping to hear. For a finely-crafted pop record with psychedelic undertones, though, I do believe it is a success. While my own preference would be to hear Le Bon dive headfirst down the rabbit hole of psychedelic weirdness, I have a feeling that most listeners will prefer it her way. If Cyrk keeps growing on me, I may even eventually be inclined to take that stance as well.
Cate Le Bon will be opening for Veronica Falls on 2/17 at the 7th Street Entry.
Veteran MC, activist, community organizer, muralist, and b-boy I Self Devine is a “hip-hop architect, marked for death, lost in the marketing”—true statement. All that will change, however, with the release of his sophomore record, the highly anticipated The Sound Of Low Class America, on Rhymesayers. The former Micranots MC has a rich history; he was around for the first wave of indie hip-hop and part of the pre-Rawkus era generation—he and the Micranots released Obelisk Movements in 2000 on Big Juss (of Company Flow’s imprint Sub Verse Music). The Micranots returned from Atlanta to Minneapolis and released The Emperor & The Assassin on Rhymesayers in 2003. After several 12-inches, cassettes, and records, the Micranots took a pause, and I Self Devine released his critically acclaimed solo debut, 2005’s Self Destruction on Rhymesayers.
LA State Of Mind is the first in a quartet of EPs slated to be released in advance of The Sounds Of Low Class America. It captures the essence of his early years growing up in South Central Los Angeles during the post-civil rights era, at the crossroads of The Black Panthers pro-black movements and the gang culture that followed.
The opening track, the brooding Gang Starr-inspired “Dream Crusher”, scores with Benzilla’s hard drums as I Self keeps it classic. “Cali was Iraq,” offers I Self, describing the urban landscape’s similarity to a war field. “I was raised by gangsters, pimps, and activists.” On the reflective “Zero To 5ive,” I Self warmly reminisces over lovely horns with echoes of Pete Rock. “Death In The Air” is aided by chopped samples of early classics. The bouncy “Diamond Movement,” produced by Oh No (of Black Starr and brother of Madlib) strikes a exuberant chord. Then there’s the hard-hitting jewel produced by The Alchemist (Eminem, Mobb Deep), “Thingz.” I Self welcomes the darkness: “A black cat crossed my path, it’s good luck today, I woke screaming I don’t give a fuck today, money falling out the sky like it’s Paid In Full, I’m Wood Harris, I’m Tiger Woods.” LA State Of Mind is the shining center-point. The elegant boom-bap of “Justice,” produced by Benzilla and I Self, shines light on those who are caught in the struggle and strive for love despite their surroundings. “Survive the hood, no congratulations.” The thunder of “Sweat Equity” takes a hyper-charged beat and paints the view of daily urban life. The revolutionary inner-hood narrative “Bastards Of The Party,” is another stunner produced by Benzilla and I Self that paints the streets of his youth with tales of drug raids, police violence towards the youth, and graphic urban reality-based stories. It closes with “Mecca” where I Self surveys his former stomping grounds with joy.
I Self Devine’s relationship to hip-hop is a thorough, dark, often complex view of the struggle (as related to growing up in a political environment) and informed by the birth of hip-hop. LA State Of Mind wins with tracks such as “Dream Crusher,” “Death In The Air,” “Diamond Movement,” “Bastards Of The Party,” and the emotional “Justice,” which all capture the essence of I Self’s journey. Strong production—mainly from Benzilla and I Self, alongside Oh No, Alchemist and Emazin—serves as a soundtrack to the to golden era. Like KRS-One, I Self’s goal is to inform and educate by dropping musical jewels. Righteous music that speaks to the minds those searching for the truth. This is “conscious” hip-hop for fans of Micranots, Immortal Technique, Mos Def, dead prez, Brand Nubian, Brother Ali, and Public Enemy. I Self Devine proves there are still those who treat their craft with great respect. As KRS One says, “Knowledge reigns supreme over nearly everybody.”
At first glance, Sensational Living, the new LP from local experimental artist Orchard Thief (Sam Molstad), is fairly similar to the aesthetic he’s been laying down on his last few tapes. Like in his past material, Sensational Living is made up largely of Molstad’s looped, wandering guitar forays set against the backdrop of distorted vocals and beats.
Upon closer listen, though, there are a number of aspects that set Sensational apart from previous works and show Molstad evolving and coming into his own as an artist. For one thing, the nine tracks on the new record are often substantially and conventionally melodic. And I don’t mean this in a bad way. Molstad still weirds things up pretty well with stuff like “Cheerleader’s Returns” psychedelic guitar squalls or “Dank Sprankles” minimally pastoral meditation to the tune of chirping birds. While maintaining its “experimental” uniqueness, the sound on Sensational is more palatable and mature. Molstad’s highly-reverbed guitar tones and ghostly mutterings convey a lazy, melancholy mood. It’s mostly pretty music that doesn’t resort to tired pop tactics.
In his unorthodox sound, Molstad has forged a sort of future primitive aesthetic. It’s otherworldly sounding, even though the low-fi recording style brings the music distinctly back to earth. The choice of real-over-canned drumming grounds the sound even further. Listen to lead track “Sensational Living” and you can get a sense of the music’s enveloping intimacy—it’s like hearing an old Roy Orbison song played at the wrong speed and filtered through a strong sedative lens.
Molstad’s older work had some rougher, more dissonant edges, but much of that has been smoothed away and molded into an equally complex—yet more agreeable—shape. There’s still pure noise and disharmony incorporated, though it’s to Molstad’s credit that they are done in such a way that heightens the record’s more ambient qualities. Sensational Living presents a whole new level of musicianship for Orchard Thief, and hopefully he continues to evolve even further.
Orchard Thief’s record release for Sensational Living is tonight, 1/12, at the Hexagon. You can pick up a copy of the new LP there or via Space Lung/Land Breathing.
We might not all realize it, but throughout the Midwest there’s a ton of tiny scenes filled with great bands that are hard to even discover. While the Internet’s ease draws us closer to our Midwestern bretheren, most of us have no idea of what great things lie scattered throughout the neighboring cities and states.
Influenced by the aforementioned Midwestern isolationism and named after the location of Jim Jones’ Jonestown cult, Ghosts Of Guyana formed sometime around a year ago in Sioux City, Iowa. While the sound definitely echoes the town’s early 2000s post-hardcore roots (see early 2000s favorites Swing By Seven), Ghosts Of Guyana add a dreamy space rock element to the sound. The opening track, “If You’re Not There You’re Light Years Away,” bursts out as a direct descendant of Unwound’s late-period output, while tracks like “Stevin’ King” bob in a seven-minute sea of delay. If You’re Not There You’re Light Years Away is a short at eight songs, but long enough to remind you of the great bands hiding all over the Midwest that play for the love of what they do.
As a side-note, we’re planning on exploring beyond our local scene a bit in the coming months—so keep a lookout for a new series exploring bands rocking just a short road trip away from us.
Fire in the Northern Firs bring a kind of hazy, shoegaze-leaning fuzz-pop to the table—unsurprising, considering the bands that they have previously been in. Bringing together members of First Communion After Party; Goodday, Montag; and Sun and the Satellite; the group recently self-released a six-song cassette of blown-out rock-and-roll that is as confident of a declaration as you would expect from a group with such a pedigree.
The songs range from the coolly abstruse noodling of cassette closer “The Wedding Crier” to fractured pop of “Something to Write Home About,” which seems to combine the best parts of local bands Leisure Birds and Gospel Gossip into three-and-a-half frantic minutes of pop exaltation. The basswork of Shane David Kramer gives the music—which easily slips into the cloudy ether—a solid backbone, especially on the last half of “Flavor Savior” and the confident strut of “It’s A Dark Horse, Brad.” The three guys powering the machine behind Carin Barno’s spaced-out (and manipulated) vocals create a warm sonic texture that bends and grooves. Never succumbing to conformity, they make sure the band doesn’t lose control of its driving, kraut-centric sound.
The type of music showcased on Field Guide may have worn tread on their tires, but that doesn’t mean that it doesn’t work. The group isn’t breaking any ground that hasn’t been explored in the local scene over the last few years (a good chunk by bands they were in), but they put their experience to good work.
Don’t miss Fire in the Northern Firs tomorrow when they play the Reviler two-year anniversary party at the Turf Club. More info HERE.
MEDIA ADVISORY: CORPUS CHRISTI, TEXAS, TO HOST U.S. CONGRESSIONAL OVERSIGHT COMMITTEE HEARING ON SOUTH TEXAS ENERGY.
States News Service February 8, 2012 WASHINGTON — The following information was released by the office of Texas Rep. Blake Farenthold:
House Oversight and Government Reform Committee Chairman Darrell Issa (R-CA) today announced that the committee will hold an official Congressional field hearing entitled, Exploring all the Energy Options and Solutions: South Texas as a Leader in Creating Jobs and Strengthening the Economy , on Monday, February 13, 2012, at 9:00 AM CST in the Performing Arts Center at Texas AandM University-Corpus Christi. The hearing, which is open to the public, will allow Members of Congress to hear testimony from experts about energy production in South Texas, the job creation it provides, and government red tape that impedes production efforts. site corpus christi texas
Texas produces more energy than any other state. It ranks number one in crude oil production and Texas refineries account for one-fourth of the total amount of U.S. petroleum refining capacity. Texas also leads the country in natural gas production, producing approximately 30 percent of the nation’s supply. Over a one-year period from June 2010 to June 2011, the oil and gas industry added over 28,000 jobs to the economy, making up almost 13 percent of job growth in the state over that period. Texas is also the largest producer of wind power in the United States, since overtaking California in 2006. This hearing will analyze the contributions that Texas, particularly South Texas, is making to power the American economy and what could be done to ensure that this progress continues.
Details for Monday’s hearing in Corpus Christi:
What: Official Congressional Field Hearing of the House Oversight and Government Reform Committee in Corpus Christi, Texas – Exploring all the Energy Options and Solutions: South Texas as a Leader in Creating Jobs and Strengthening the Economy Date/Time: Monday February 13th at 9:00 AM CST (doors open at 8:30 AM) Hosted by: U.S. House Committee on Oversight and Government Reform — Chairman Darrell Issa (CA) and Rep. Blake Farenthold (TX) have confirmed their attendance Location: Performing Arts Center at Texas AandM University-Corpus Christi 6300 Ocean Drive, Corpus Christi, Texas Witnesses: this web site corpus christi texas
Ms. Elizabeth Ames Jones, Chairman, Railroad Commission of Texas Mr. Jeff Weis, Executive Vice President, Orion Drilling Company LLC Mr. Aaron Hees, President, Charro Operating LLC Mr. Charif Souki, Director, Chief Executive Officer, and Chairman of the Board, Cheniere Energy Partners, L.P.
Mr. Scott Stanford, Operations Manager, Royal Offshore, Royal Production Company, Inc.
Mr. Mark Leyland, Senior Vice President, Offshore Wind Projects, Baryonyx Corporation Mr. Roland C. Mower, President and Chief Executive Officer, Corpus Christi Regional Economic Development Corporation Mr. Robert E. Parker, President, Repcon, Inc.
It’s no secret that I’m an uber-fan of ambient—the more immersive and achingly drawn-out, the better. One of my favorite DIY/bedroom ambient record labels is called Dynamophone. Pretty much every single release they champion puts me in a “Can we go watch Solaris on Benadryl?” sort of mindset. The same is true for their latest, an hour-long trip into a pseudo-hallucinatory Eden called Muon by the producer Geskia!
As far as I can tell, Geskia! is a veteran of Japanese hip hop beatcraft, trip hop, IDM, and ambient. He managed to synthesize all of those styles on Muon, building a bliss-scape of radiant tones and sub-liminal pulsation. His sound reminds me of Ultimatum, the recent EP by local underground electronic musician Ghostbug, which I wrote about a few weeks ago.
A few more brief words on Dynamophone. Dynamophone is a music nerd’s record label. They take risks on music largely unpopular, often without even the slightest commercial appeal. (Um, ambient in general . . . ) And not only that—format junkies take note—the albums are immaculately and creatively packaged. A few years back I picked up I dress my ankles with god’s sweetest words EP by folktronica multi-instrumentalist A Lily. The release came on a 3” CDr—and the two sides of the packaging were connected with a richly decorated accordion of lyrics and art. In other words, you get a beautiful product when you support this record label. That’s important, at least to me.
Muon doesn’t come out until February 28, but you can download a preview track from the Utne Reader January digital music sampler here. Stream the album below.
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Four reactions, Four impressions, Four Takes on Give You The Ghost by Poliça.
Jon Behm, Reviler
The Twin Cities hype machine is a pretty strange beast, but at least lately I gotta say that I am not at odds with it nearly as much as I like to pretend to be. I mean, I am of the opinion that the various current local kings and queens of The Scene are, in most cases, deserving of their crowns. Bands like The Cloak Ox and Doomtree for instance, two bands that had very good years in 2011. Sure, we still overlook bands (Brute Heart, Food Pyramid, Lighted, Skoal Kodiak, etc., etc.), but at least most of the bands we have been honing in on lately aren’t completely terrible (with notable exceptions like Howler). And with the current most-hyped local darling, Polica, I also gotta say that I think we got another one right. While the contrarian in me wants to tell Poliça’s sold out crowds that there are plenty of other great local bands they should also line up to see, the other part of me is lining up right there with them.
Now, with me at least, Poliça did have an unfair advantage, because I have always been a big fan of Channy’s vocals. Whether folk, country, or new wave—Channy always manages to make it sound both amazing and effortless. While the vocal effects on the band’s new record warp and distort her voice into a colder, more distant warble, Channy’s talent is still evident in the richness of tone and pitch that the computer cannot mask. The effects don’t always work—in “The Maker” the reverb leaves the vocals a bit harried and directionless—as if the tracks were pinging around in a well. Mostly though, they are completely on point. The vocals carry the otherwise unremarkable “Form” completely. And in great tracks like “Amongster” and “Wandering Star,” the auto-tune and echo effects seem like a perfect combination. They also serve to muddle-up the lyrics and make them a bit harder to understand—which is a plus because there isn’t anything incredibly profound being said. I don’t think the lyrics are meant to be profound—Channy’s words seem to come from a dark inner place and, though sung, they almost seem to be more like the mutterings of a tormented person.
But let’s not solely consider Channy’s contribution. Poliça also features a very strong cast of musicians who are every bit as integral to the sound. Ryan Olsen’s production sounds quite a bit similar to what he did with Gayngs: smooth, silky tones and reverb that cushion everything in a barbiturate cloud. The Dual drummers Ben Ivanscu and Drew Christopherson are highly in-tune with each other’s vibes, and in tunes like “Amongster” it’s interesting just to listen to the two of them roll across the scope of the song like a violent hailstorm. Bassist Chris Bierden stands out the most in “Leading to Death,” where his nimble fingers give the rhythm a much-needed slice of funk. Guest Mike Noyce’s impression isn’t as noticeable—he only contributes (vocals?) to two tracks (“Wandering Star” and “Lay Your Cards Out”).
What’s remarkable about Poliça as a group is how finely in-tune with each other they appear to be, which seems unusual for such a new project. However each of these band members is a local music veteran, and many of them have been collaborating on other projects for years (Gayngs, Marijuana Deathsquads). It should be no surprise that they sound as good as they do. And they do sound good: every single ticket holder who sold out the band’s upcoming First Avenue performance is right about that much. They are one of many great bands that make up our local scene—and I think all the hype being sent their way is pretty well deserved.
Channy Leaneagh has come a long way from busking fiddle at farmers markets. Having won over the collective, sentimental heart of the Twin Cities as the lead female vocalist of folky ensemble Roma di Luna, Channy and her former partner Alexie Casselle pulled the plug on the project after more than half a decade. The two have moved on to pursue other projects. Alexie is returning much of his focus to his twin hip-hop projects, Kill the Vultures and Crescent Moon is in Big Trouble. Channy, as you might have heard if you’ve had half as much sensory capacity as Joe Bonham in Johnny Got His Gun, has started a little band called Poliça.
Poliça is an aesthetic about-face for Channy, who dropped the neo-rustic roots rock and songbird vocals of Roma di Luna for synthesizer riffs and an auto-tuner. She’s backed up by a trio of local vets: Ben Ivascu of STNNNG on drums; Vampire Hands’ Chris Bierden on bass; and every-other-Minneapolis-band’s honorary member Drew Christopherson, also on drums and electronics. Bon Iver member Mike Noyce appears on a pair of tracks. On top of all that, Give You the Ghost was produced by Gayngs-kingpin Ryan Olsen and one of the dudes from Spoon. From a sheer-firepower perspective, Poliça is a juggernaut.
From a finished-product perspective, though, the band leaves plenty to be desired. This is not meant as a snipe-job, but the element of GYTG I’m least impressed by is Channy’s vocal work. What made her performances with Roma di Luna so memorable was a sort of delicateness—that she could so finely manipulate her intonation and delivery to evoke a wide range of emotions and switch between styles. Auto-tune and delay effects, unfortunately, steamroll her naturally robust, intricate voice. As she belts out repetitive lyrics, Channy sounds caged by the digital manipulation—her wings clipped. On tracks like “Amongster” and “Leading to Death,” the melodies lack human emotion, like they’re anonymous samples from a ‘90s trance compilation.
As the vocals suffer, so do the lyrics. Many of Channy’s lines seem like she lifted them off the angsty pages of her high-school diary. Here are a few offending groaners. On “I See My Mother,” she sings with a young Conor Oberst-esque kicked-puppy sentiment, “I swallow whiskey, I take to powder, drink the flowers, but I am still so so sad, and that makes you feel bad.” Feeling like a gothling that no one understands? Listen to “Form,” on which Channy sings “Wish you would kick me in my face, I’m the victim I did it.” “I need some time to think about my life without you,” she croons on another song. I think Lisa Loeb just filed a suit for identity theft.
Lyrics don’t always need to be literary—in certain circumstances, the more vapid the better—but when vocals are front-and-center, they should at least break away from cliché. Channy is one of few artists legitimately experimenting with the artistic limits auto-tune, and for that she deserves credit. But I want a little harder push. Votel is another local group working in this vein (And, surprise!, also features Drew Christopherson.) But in my opinion, Votel does it more successfully and less predictably.
Not to be a complete crank, I admit there are some standout excellent moments on GYTG. Poliça have a great sense for balance and flow. The album’s mix masterfully juxtaposes the low, jammy grooves of the band and Channy’s rocketing voice. “Lay Your Cards Out” and “Fist Teeth Money” are positively immersive, dunking the listener in a cold, electronic ocean. “Dark Star” is my favorite track; it starts with a wonky disco beat and becomes increasingly complex and surprising as the song wears on. What’s more, Channy overcomes the clipping limitations imposed by the vocal effects. Live, I’m sure I’d have to fight tooth-and-nail to avoid embarrassing myself on the dance floor.
There’s a sense of drive on the debut album, but a type of drive more akin to a pack of teenagers doing donuts in a high school parking lot at 3 a.m. The songs are circular, and it seems like the only way they can coax an emotional response out of me is by increasing the tempo and volume. That could mean I’m a cold-hearted bastard; it could also mean that something positively fundamental is missing.
Poliça draw elements from Portishead, the Eurthymics, and, weirdly, Fleetwood Mac. But as far as the band aesthetically distances itself from Roma di Luna, the corpse of Channy’s former group will still bang on the floor like a Minnesotan Tell-Tale Heart. Going forward, the best way for Poliça to give up their history’s ghost might be to reason with it—and honor its memory.
I fully expected that the debut album from Minneapolis (super) group Poliça would be something I wouldn’t like, a record destined for the dust pile because of its relation to the Gayngs/Bon Iver/“effect laden vocals and chilled out pop” sound that permeates the scene surrounding those two bands. I am happy to say that I went in with an open mind and left impressed with Give You the Ghost, the group’s debut record (out now digitally and dropping on wax on local label Totally Gross National Product on Feb 14th).
Fronted by the ethereal vocal stylings of Channy Leaneagh (Roma di Luna) and put together by local sound-wizard Ryan Olsen, the record is a moody slab of buzzing electronic pop music. It’s all held together by the dual drums of Drew Christopherson and Ben Ivascu and the rich bass lines of Chris Bierden (he of Vampire Hands fame). Despite having pipes that most of us in the local scene have come to recognize as something special, Leaneagh’s vocals are no more than a layer in the sound, so warped with effects that they simply become another cog in the machine. Which is disappointing. Despite the fact that what should be the highlight of the record is in fact buried under a tsunami of effects, the record still finds a way to succeed in a cool way.
Highlights on the 11 song, 45-minute effort include the thumping “I See My Mother,” the galloping space funk of “Dark Star,” and the soulful, neo-R&B of “Lay Your Cards Right.” The formula gets tired at points, namely the overdone and faux dramatic slush of “The Maker,” but it’s a well-produced record (the songs mesh together excellently) and is brimming with talent—even if it isn’t always used in the way I would have thought best. Despite my reservations that the record was going to be a hollow Gayngs/Bon Iver retread, it actually finds a way to feel less formulaic and needlessly overdone as the latest records from those two bands. More than likely it’s going to find the group some big time success.
Japanese get faster, less expensive broadband.(broadband speed)(internet service providers)(Brief Article)
The Online Reporter January 7, 2006 MuniWireless.com reports the following broadband speeds and deals in Japan: MuniWirless.com comments that the list “provides a sobering reminder of just how unbelievably slow (and, at the same time, expensive) broadband services are in the US and many other countries.”
ISP Monthly Fee
Biglobe NTT East B-Flets VDSL(East Japan) $52.77 NIFTYNTTWest B-Flets VDSL(West Japan) 48.56 BB. Excite NTT East B-Flets VDSL 51.15 USEN broad-gate 01 LAN type 43.08 NIFTYTEPCO VDSLtype 38.59 NIFTYTEPCO E type 33.21 KDDI Hikari Plus-Net DION (VDSL) 35.00 USEN broad-gate 01 VDSL type 25.47 website isp speed test
Biglobe NTT East B-Flets VDSL(East Japan) 100 Mbps/100 Mbps NIFTYNTTWest B-Flets VDSL(West Japan) 100 Mbps/100 Mbps BB. Excite NTT East B-Flets VDSL 100 Mbps/100 Mbps USEN broad-gate 01 LAN type 100 Mbps/100 Mbps NIFTYTEPCO VDSLtype 100 Mbps/100 Mbps NIFTYTEPCO E type 100 Mbps/100 Mbps KDDI Hikari Plus-Net DION (VDSL) 100 Mbps/35 Mbps USEN broad-gate 01 VDSL type 100 Mbps/50 Mbps ispspeedtestnow.net isp speed test