review | Danny Snowden “Sky Is The Limit” | Ebullience

After debuting on Locus’ 2023 various artists EP “LCSTRAX004”, Danny Snowden now takes his first full swing on wax with a solo release for Ebullience, the newly launched imprint from Burnski. True to the label’s ethos – refined energy, heartfelt groove, and dancefloor precision – Snowden delivers a four-tracker that balances classic sensibility with fresh pulse, each cut tailor-made for a different shade of the night.

Opening the record, “Sky Is the Limit” is a radiant statement of intent. Uplifting and confident, it channels the golden age of Chi-town House – diva-style vocals, buoyant percussion, and an irresistible sense of euphoria. The kind of track that could light up a peak-time set or soundtrack the sunrise after it, it’s joyous without ever losing its sophistication.

The A2, “It’s Not Over”, slides into deeper territory, fusing U.S. Deep House warmth with the ethereal textures of early UK electronica. Subtle synth flutters, a liquid groove, and crisp drum programming build a hypnotic tension that’s both nostalgic and modern – an emotional bridge between eras.

On the flip, the B1, “Stick To What You Know”, cut bursts with pure UK flair – an homage to the handbag house era, reimagined for today’s floors. Piano chords sparkle over a fat, driving bassline, all tied together with a melody that’s impossible not to hum. It’s unabashedly feel-good and perfectly engineered for dancefloor lift-off.

Closing things out, “Ri Thum” dives into the shadows. With jazzy chords, late-night percussion, and Detroit-tinted depth, it’s Snowden at his most subtle – the sound of a dancefloor slipping into its introspective hours, still moving, still locked in the groove.

With “Sky Is The Limit“, Danny Snowden showcases a producer who’s deeply fluent in the language of House – from the soulful highs to the dubby depths. For Burnski’s Ebullience, it’s a statement of intent: timeless music for modern floors, where craft, emotion, and groove speak louder than hype.

Words by Pasha Pliskin

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