Progressive house never really left the dance floor. It just got quieter for a while, then came back with warmer bass, longer builds, and that patient, late-night pull that still works from a Belgian club to an Ibiza terrace. Quincy (BE) knows that lane better than most, and Looking is him putting that history into a modern, driving cut.
The track sits right where progressive house and melodic techno overlap in 2026: groove first, melody second, no rush to the drop. Beatport-facing copies of the extended mix clock in around 125 BPM in F minor, which is classic progressive tempo. The streaming version is tighter, about three minutes, built for playlists without throwing away the journey. Expect rolling low-end, evolving layers, and that sense of looking forward rather than hitting you with a one-bar hook and calling it a night. If you like records that breathe instead of shouting, this is that energy.
Quincy is not a new name in Belgium. Quincy Steveninck started in 1996 as one of the first DJs and promoters to push progressive house into the Belgian club scene. That path led to a residency at Extreme in Affligem, then Rebuilding Mondays at the old Boccaccio after Extreme closed. Vinyl-only sets followed at rooms and festivals that still mean something locally: Fuse, Café d’Anvers, La Rocca, Kozzmozz, Laundry Day, 10DaysOff, and bigger stages including Tomorrowland, plus dates in Germany, Spain, France, Italy, Switzerland, the Netherlands, Croatia, and Ibiza.
He is also a promoter as much as a selector. Age of Love, built with Nik Vandenberghe, became one of Belgium’s longest-running retro concepts and grew from Charlatan into Vooruit and multi-room nights. Other names tied to his work include The Sound of Belgium, Cherry Moon, Teknoville, Extreme Reunion, History of Trance, and Cirque Magique. His own artist bio puts it plainly: he is ranked among Belgium’s Top 5 Retro DJs and still treats the floor as the job. Looking fits that story. It is not a nostalgia flip. It is a current progressive house record from someone who introduced that sound to Belgian clubs the first time around and never fully stepped off it.
That matters because the line between progressive house and melodic techno is blurrier than ever. Warmth and harmonic development sit on one side. Tighter, more tense late-night programming sits on the other. Quincy’s catalog already leans that way, with recent titles such as Signs Were Clear, Walk with me, What you gonna do, and Tear Us Apart living in melodic house and techno territory. Looking, released as a single on Sommersville Records, keeps the same brief: driving, commercial enough to travel, still rooted in the long-form progressive idea.
Belgium keeps punching above its weight in electronic music, from New Beat history to festival main stages. Quincy’s lane is slightly different. He is the tastemaker who remembers why those rooms worked, then writes records that still move them. If you are digging Defected-adjacent groove, Keinemusik-style after-hours heat, or the kind of melodic house that works at 2 a.m. and on a daytime playlist, Looking is an easy add.
What do you think of this one? Does Looking feel more like classic progressive house or current melodic techno to you? Drop it in the comments.
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