Phil K has been moving dance floors across the country for almost twenty years now, and when you consider that he’s worked alongside the likes of Oakenfold, Sasha, and Seaman, it’s apparent that he’s obviously got the right idea about what he does. He’s produced some tight collaborations and mixes in his time, and his latest offering, Hi-Fi from Central Station, is right up there.

True to form, there’s a smattering of everything on this mix compilation, but Phil K does it with the certifiable class that has characterised his career. He kicks it off with a touch of breaks in Dr Teeth by Layo & Bushwacka; an impressive track that has a ripper of an electric guitar sample layered in with trumpets blaring, before a seamless genre transition into electro-house with the M.A.N.D.Y. Pusher Remix of the Rockers Hi-Fi Push Push.

He keeps the bassline chunky with some funky overlaps and breaks through Hazui by Guy J & Sahar Z (Guy Boratto remix), but then just as quickly brings the bass back just a touch for _Myron Bytz_’s Amfuem; a great track loaded with great effects. A third of the way through the mix, and this track brings a transient relaxing vibe to the fore, and if this were a set it would be the perfect calm before the storm. It is electro-infused house at its titillating best, and it remains through S For E by John Dahlback and Where’s My Guitar, by Phil K’s sometime collaborator Habersham.

Into my favourite track of the set – Silmarions by Mikael Weil (Claude VonStroke Bavarian Ferrari Mix) – and while the tempo comes back a notch (127bpm), there’s just something about the eeriness of the song that got me; chunky basslines accompanying some clever high-pitched sampling forming the perfect foil for the crescendo of the compilation in Beats And Styles’ Dance Dance Dance (Tom Neville remix); the temperature rising, and with the tempo hastening, one can almost feel the arms being thrown around.

Up until this point, he’d kept us guessing, but as the mix goes on, there are a few tracks that are just a touch predictable. He picks it up again with some spice on Martin Brothers’ Stoopit, and it’s very distinct Middle Eastern rhythym, before wrapping it up with Petter’s classic Some Polyphony; an appropriate name for the last song, because ultimately you’ve heard a bit of everything. Therein lay the ingredients for a release that while perhaps dropping just a touch, remains rock solid and offers a lot for those that claim that any release must stay within a certain genre. Phil K transcends those boundaries, and pulls it off very nicely indeed.