QST is an abbreviation of Quest, both of which are aliases of Frans de Waard, whose decades-long career as a performer, composer, writer/publisher, labelhead and general artistic instigator has seen him traverse more electronic/experimental hybrids and subsects over the course of a single year than accomplish in a lifetime. The grass surely doesn’t grow under his feet: he still regularly publishes the (online) review list Vital Weekly; recently penned a history of the label he co-founded, Staalplaat; performs regularly throughout the world; and continues to release a staggering array of recordings under an equally diverse cover of aliases. QST has been the place de Waard allows his ‘techno’/rhythmic flag to fly free; earlier works champion an exhaustive dissection of repetitive beats, patterns, loops, sequences, and motifs. On his debut for Carpe Sonum, the QST modus operandi appears in full regalia. “QST 28” exults in its Casio-esque robo-bop; “QST 29” focuses on early Aphex Twin-like squelch ’n’ roll; “QST 67” could be Tangerine Dream reimagined for the dub-techno set, sprinkled with some of Bochum Welt’s fairydust; “QST 79” is a dayglow fest of spring breeze machinedrum majesty. One of Carpe Sonum’s more unusual editions perhaps, but nonetheless, de Waard’s spunky rhythmese is boisterously welcomed in our ever-expanding sonic universe.