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	Current EURO200
	New entries in the EURO200                                       Review for week 47 - 2025
	At #69 on this week’s Euro 200, “Fotografia” marks a striking debut for Geolier, one of Italy’s most prominent young rap voices. Born Emanuele Palumbo in Naples in 2000, Geolier is just 25 years old and has already become a defining figure in the Neapolitan trap scene. His rise has been fueled by his ability to blend raw street narratives with melodic hooks, often delivered in the Neapolitan dialect, which gives his music a distinctive identity and a strong sense of place. “Fotografia” continues this tradition, but it also shows his growing maturity as an artist. The song’s title, “Fotografia” — meaning “photograph” — is a metaphor for memory, permanence, and the attempt to capture fleeting emotions. Musically, the track is built around a moody, atmospheric beat, with piano chords and subtle electronic textures that create a cinematic backdrop. Geolier’s delivery is both urgent and reflective, moving between rapid-fire verses and a smoother, melodic chorus. The contrast mirrors the tension between the harsh realities of his lyrical world and the longing for something more permanent, something worth holding onto. Lyrically, “Fotografia” explores themes of love, loss, and identity. Geolier paints vivid images of relationships that feel fragile, moments that slip away too quickly, and the desire to freeze them in time. “I take a picture so I don’t forget,” he raps, turning the act of photography into a metaphor for emotional survival. It’s a universal sentiment, but his use of dialect and local references grounds the song in his own cultural context, making it both personal and relatable. The debut at #69 is significant. It shows that Geolier’s appeal is expanding beyond Italy, resonating with audiences across Europe. His ability to combine authenticity with accessibility is what makes him stand out. “Fotografia” is not just another trap track; it’s a statement of intent from an artist who is ready to move from local hero to international star. At 25, Geolier has already proven he can capture the essence of his world in sound, and with “Fotografia,” he invites listeners everywhere to see it through his lens.
	Rosalía’s arrival this week with seven brand‑new entries on the Euro 200 is a statement of artistic power. At 32 years old, the singer from Sant Esteve Sesrovires, near Barcelona, has already reshaped the global pop landscape by fusing flamenco traditions with reggaeton, trap, and avant‑pop. Her debut album Los Ángeles (2017) and the breakthrough El Mal Querer (2018) established her as a visionary, and subsequent collaborations with artists like J Balvin, Billie Eilish, and Travis Scott proved her versatility. Now, with seven fresh tracks entering the chart simultaneously, she demonstrates both prolific creativity and a refusal to be confined to one genre. Each of these songs — “Reliquia” (#78), “La Perla” (#82, with Yahritza y su Esencia), “Sexo, Violencia y Llantas” (#99), “Dios Es Un Stalker” (#108), “Divinize” (#120), “Porcelana” (#171), and “La Yugular” (#173) — adds a different shade to her palette, and together they form a body of work that feels daring, cohesive, and deeply personal. “Reliquia” at #78 is steeped in flamenco echoes. The title translates to “relic,” and Rosalía uses her voice almost like an ancient instrument, layering melismatic phrases over a modern beat. The production is sparse yet intense, with handclaps and guitar fragments woven into electronic textures. It feels like a bridge between past and present, a reminder of her roots and a declaration that tradition can be reimagined. The song’s entry high in the chart suggests listeners are drawn to its haunting quality, a kind of spiritual excavation that resonates beyond language. At #82, “La Perla” is a collaboration with Yahritza y su Esencia, the young Mexican‑American group led by Yahritza Martínez, who at just 17 has become a voice of the new corrido wave. Rosalía’s presence here is transformative: she doesn’t dominate but rather intertwines her vocals with Yahritza’s plaintive delivery. The track feels like a dialogue between continents — Spain and Mexico, flamenco and corrido — and the result is a song that is both intimate and expansive. Its chart debut reflects the growing appetite for cross‑cultural collaborations that honor heritage while pushing boundaries. “Sexo, Violencia y Llantas” at #99 is perhaps the most provocative of the set. The title — “Sex, Violence and Tires” — is deliberately jarring, evoking images of urban chaos and raw survival. Rosalía’s delivery is sharp, almost confrontational, and the production leans into industrial textures: metallic percussion, distorted bass, and a relentless rhythm. It’s not a comfortable listen, but that’s the point. She forces the audience to confront the darker realities of modern life, turning discomfort into art. The track’s presence in the chart shows that listeners are willing to embrace her risk‑taking. “Dios Es Un Stalker” at #108 is a daring piece of social commentary. Translating to “God Is a Stalker,” the song critiques surveillance, obsession, and the erosion of privacy in the digital age. Rosalía uses religious imagery to heighten the unease, singing with a mix of reverence and irony. Musically, the track is minimalist, with her voice front and center against a skeletal beat. The starkness forces attention on the lyrics, making the message unavoidable. It’s a bold move to frame such themes in pop music, and its chart debut proves her audience is ready for complexity. “Divinize” at #120 shifts into a more sensual, atmospheric mode. Here Rosalía leans into lush production, layering harmonies over a hypnotic rhythm. The song feels like a dreamscape, inviting movement but also introspection. It’s accessible without being conventional, showing her ability to craft tracks that appeal broadly while retaining artistic depth. The title suggests transformation, and the music delivers that sense of transcendence. Its chart entry underscores her skill at balancing experimentation with pop instincts. “Porcelana” at #171 is delicate and fragile, much like its title — porcelain. Rosalía’s voice is soft, almost trembling, set against sparse instrumentation. The song explores vulnerability, fragility, and the beauty of imperfection. It’s a stark contrast to the aggression of “Sexo, Violencia y Llantas,” proving her range. The lower chart position doesn’t diminish its impact; rather, it reflects its subtlety. This is a track meant for quiet reflection, not mass sing‑alongs, and its presence in the chart shows that even her most understated work finds resonance. Finally, “La Yugular” at #173 is visceral and intense. The jugular vein is a symbol of life and vulnerability, and Rosalía uses it to explore themes of danger, intimacy, and exposure. The production is urgent, with pounding rhythms and sharp vocal lines. There’s a sense of confrontation, as if she’s daring the listener to face raw emotion head‑on. It’s a powerful closer to her set of new entries, leaving an impression of strength and fearlessness. Taken together, these seven tracks — spread across positions #78, #82, #99, #108, #120, #171, and #173 — form a mosaic of Rosalía’s artistry. She moves from flamenco reverence to industrial provocation, from cross‑cultural collaboration to minimalist social critique, from sensual dreamscapes to fragile balladry. At 32, she continues to redefine what it means to be a global pop star, refusing to settle into predictability. Her simultaneous debut of seven songs in the Euro 200 is not just a chart achievement; it’s a creative statement. Rosalía is showing that she can be many things at once — traditional and futuristic, vulnerable and confrontational, accessible and avant‑garde. This week’s chart performance cements her status as one of the most compelling artists of her generation, and it suggests that her influence will only grow as she continues to expand the boundaries of pop music.
	At #79 this week, “Mann Im Spiegel” introduces a new chapter for Haftbefehl, one of Germany’s most influential rappers. Born Aykut Anhan in Offenbach am Main in 1985, Haftbefehl is now 40 years old and has long been a central figure in German hip‑hop. His Kurdish‑Turkish heritage and upbringing in the multicultural environment of Offenbach have shaped his lyrical perspective, often blending gritty street narratives with sharp social commentary. Over the past decade, he has become known for his distinctive voice, raw delivery, and unapologetic portrayal of life on the margins. “Mann Im Spiegel,” which translates to “Man in the Mirror,” is a song that plays with themes of identity, reflection, and confrontation with the self. The title evokes the idea of facing one’s own flaws and contradictions, and Haftbefehl’s verses dive into the tension between public persona and private reality. His delivery is intense, almost aggressive, but beneath the surface lies vulnerability. The mirror becomes a metaphor for accountability, forcing the artist to acknowledge both his successes and his scars. Musically, the track is built on a dark, brooding beat, with heavy bass and atmospheric synths that create a sense of unease. The production mirrors the lyrical content: it feels like a confrontation, a sonic reflection of inner turmoil. Haftbefehl’s voice cuts through the mix with urgency, commanding attention and leaving no room for indifference. The song’s entry at #79 shows that listeners across Europe are connecting with its raw honesty. What makes “Mann Im Spiegel” significant is how it encapsulates Haftbefehl’s evolution. Earlier in his career, he was often pigeonholed as a street rapper, but this track demonstrates a more introspective side. At 40, he is no longer just chronicling external struggles; he is turning the lens inward, examining himself with the same unflinching gaze he has applied to society. This self‑reflection resonates with audiences who see in him not just bravado but humanity. The debut of “Mann Im Spiegel” at #79 confirms Haftbefehl’s enduring relevance. He remains a voice of authenticity in German rap, and this track shows that he is willing to confront uncomfortable truths, both about the world and about himself. It is a powerful reminder that even the toughest personas must eventually face the man in the mirror.
	Landing at #90 this week, “Talk of the Town” is a fresh debut from Fred Again.., Sammy Virji, and Reggie, and it captures the energy of the UK club scene with remarkable precision. Fred Again.., born Fred Gibson in London in 1993, is now 32 years old and has become one of the most influential producers of his generation. His signature style blends emotional storytelling with electronic beats, often pulling fragments of real life into his tracks. Sammy Virji, a British DJ and producer in his mid‑twenties, is known for his bassline and garage influences, while Reggie adds a vocal presence that ties the track together with charisma and urgency. “Talk of the Town” is built around a pulsating rhythm that feels tailor‑made for late‑night dance floors. The production is layered but never cluttered: Fred Again.. brings his knack for atmospheric textures, Virji injects the track with garage‑driven basslines, and Reggie’s vocals provide the hook that makes the song memorable. The title itself suggests notoriety, the idea of being the subject of conversation, and the lyrics lean into that theme — celebrating visibility, energy, and the thrill of being noticed. It’s a track that thrives on momentum, pushing forward with relentless drive. What makes this debut at #90 notable is how it reflects the current state of UK electronic music. Garage and bassline have been enjoying a resurgence, and Sammy Virji has been at the forefront of that wave. Fred Again.., meanwhile, has become a global name, headlining festivals and collaborating with artists across genres. By joining forces, they create a track that feels both underground and mainstream, bridging audiences who crave authenticity with those who want polished production. Reggie’s contribution ensures the song doesn’t lose its human touch, grounding the electronic elements in vocal emotion. At 32, Fred Again.. continues to prove that he can reinvent himself while staying true to his ethos of capturing real life in sound. Sammy Virji, younger but already a respected figure, shows that his bass‑heavy style can thrive in collaboration. Together with Reggie, they’ve crafted a song that doesn’t just enter the chart — it announces itself. “Talk of the Town” at #90 is more than a debut; it’s a snapshot of a vibrant scene, a track that embodies the energy of the moment and hints at even bigger things to come.
	Coming in at #105, “Tant Pis Pour Elle” marks a new debut for Charlotte Cardin, the 31‑year‑old singer‑songwriter from Montreal, Canada. Cardin first gained attention as a finalist on La Voix (the Quebec version of The Voice) and has since carved out a reputation for her smoky vocals and genre‑blending style that moves between pop, jazz, and electronic influences. Her career has been steadily rising, with her debut album Phoenix (2021) earning critical acclaim and establishing her as one of Canada’s most compelling new voices. Now, with “Tant Pis Pour Elle” entering the Euro 200 at #105, she continues to expand her reach across Europe. The title translates to “Too Bad for Her,” and the song carries a tone of bittersweet detachment. Musically, it’s built around a sleek, minimalist production: pulsing synths, understated percussion, and Cardin’s voice front and center. Her delivery is both sultry and resigned, capturing the emotional complexity of letting go. The track feels intimate, almost confessional, yet polished enough to resonate on a global stage. Cardin has always excelled at balancing vulnerability with sophistication, and “Tant Pis Pour Elle” is a perfect example of that duality. Lyrically, the song explores themes of heartbreak, rivalry, and empowerment. Cardin sings about a relationship that has shifted, addressing another woman with a mix of empathy and defiance. The phrase “tant pis” suggests acceptance of loss, but also a refusal to dwell in bitterness. It’s a narrative that resonates widely: the idea of moving on, acknowledging pain, but reclaiming strength in the process. Her ability to convey these emotions with nuance makes the track stand out. The debut at #105 is significant because it shows Cardin’s growing international presence. While she has long been celebrated in Canada and French‑speaking markets, breaking into the Euro 200 demonstrates her appeal across linguistic and cultural boundaries. At 31, she is at a pivotal point in her career, balancing artistic maturity with the hunger to reach new audiences. “Tant Pis Pour Elle” is not just another single; it’s a statement of intent, proving that Charlotte Cardin is ready to claim her place among the most intriguing voices in contemporary pop.
	Sliding into the chart at #122, “Ailleurs” is a brand‑new entry from Orelsan, one of France’s most acclaimed rappers and songwriters. Born Aurélien Cotentin in Alençon in 1982, Orelsan is now 43 years old and has built a career on sharp lyricism, social commentary, and a knack for blending humor with melancholy. He first broke through in the late 2000s, and over the years has become a central figure in French hip‑hop, winning multiple Victoires de la Musique awards and earning respect for his ability to capture the contradictions of modern life. “Ailleurs,” which translates to “Elsewhere,” is a track that embodies escapism and the desire to break free from routine. The production is sleek and atmospheric, with synth layers and a steady beat that create a sense of movement. Orelsan’s delivery is measured but expressive, his voice carrying both weariness and determination. The song feels like a journey, a search for something beyond the everyday grind, and the title reinforces that longing for another place, another state of mind. Lyrically, Orelsan explores themes of disconnection and the urge to reinvent oneself. He paints images of monotony, of being trapped in cycles, and contrasts them with visions of freedom and possibility. His words resonate because they capture a universal sentiment: the desire to escape, even temporarily, from the pressures of modern existence. At 43, Orelsan brings maturity to the subject, acknowledging that escape is not always possible, but still finding beauty in the act of imagining it. The debut at #122 is significant because it shows Orelsan’s continued relevance. Despite being a veteran of the French rap scene, he remains capable of producing work that connects with younger audiences while retaining depth. “Ailleurs” is not just a catchy track; it’s a reflection of his artistry, balancing introspection with accessibility. Its chart entry confirms that Orelsan’s voice is still vital, offering listeners both entertainment and insight.
	At #126 this week, “Daddy Yankee: BZRP Music Sessions #66” bursts onto the Euro 200 as a collaboration between two giants of Latin music. Bizarrap, the 27‑year‑old Argentine producer born Gonzalo Julián Conde, has built his reputation on the viral BZRP Music Sessions, where he invites artists to freestyle or record original material over his beats. Each session becomes a cultural event, blending sharp production with the unique personality of the guest. Daddy Yankee, meanwhile, needs little introduction: born Ramón Luis Ayala Rodríguez in Puerto Rico in 1977, he is 48 years old and widely regarded as the “King of Reggaeton.” His career spans more than two decades, with global hits like “Gasolina” and “Despacito” cementing his legacy as a pioneer of the genre. Session #66 is electrifying because it represents a meeting of generations. Bizarrap embodies the digital‑native producer who thrives on virality and innovation, while Daddy Yankee represents the roots of reggaeton, the artist who helped bring the genre from Puerto Rican streets to worldwide stadiums. The track itself is high‑energy, driven by Bizarrap’s signature minimalist yet punchy beats. Synth stabs, rolling percussion, and a relentless tempo provide the canvas for Daddy Yankee’s commanding flow. His voice, instantly recognizable, rides the rhythm with authority, reminding listeners why he remains a legend even after announcing his retirement tour. Lyrically, “Daddy Yankee: BZRP Music Sessions #66” is a celebration of resilience and dominance. Daddy Yankee raps about longevity, influence, and the ability to stay relevant in a constantly shifting industry. There’s bravado, but also reflection: he acknowledges the journey from underground reggaeton to mainstream success, positioning himself as both a survivor and a trailblazer. Bizarrap’s production amplifies this message, keeping the spotlight firmly on the vocals while ensuring the beat hits hard enough to ignite dance floors. The debut at #126 is symbolic. It shows that even after decades in the game, Daddy Yankee can still command attention, and that Bizarrap’s sessions remain one of the most exciting platforms in Latin music. Together, they deliver a track that is not just a collaboration but a cultural milestone — a reminder of reggaeton’s past, present, and future.
	Imagine a dimly lit Parisian street, neon signs flickering, the hum of late‑night traffic in the background. Out of that atmosphere steps Orelsan, with a new entry at #129 titled “Boss.” The song doesn’t just play; it struts. It’s less about melody and more about presence, about the aura of someone who has survived the chaos of fame and still commands respect. “Boss” is built like a manifesto. The beat is heavy, industrial, almost metallic, echoing the grind of ambition. Orelsan’s voice rides over it with a mix of weariness and authority, not the brash tone of a newcomer but the calm confidence of someone who has seen the highs and lows. He doesn’t need to shout; his words carry weight because they come from experience. The track feels like a declaration: he is not chasing trends, he is setting them. The lyrics are sharp, filled with imagery of power, control, and the contradictions of leadership. Being a “boss” is not just about dominance; it’s about responsibility, about the loneliness that comes with authority. Orelsan captures that duality, weaving humor into the seriousness, a trademark of his style. He can make you smirk at a clever turn of phrase and then hit you with a line that feels like a gut punch. At #129, “Boss” may not be storming the very top of the chart, but its placement is symbolic. It’s the kind of track that grows quietly, spreading influence rather than chasing instant virality. For Orelsan, this is another reminder that he remains one of the most literate, self‑aware voices in European rap. “Boss” is not just a song; it’s a persona, a mirror held up to the artist himself, and to anyone who has ever wondered what it truly means to lead.
	Few bands manage to sustain momentum across more than a decade, but 5 Seconds of Summer prove with four simultaneous debuts on the Euro 200 that they are still a force to be reckoned with. The Australian quartet — Luke Hemmings, Michael Clifford, Calum Hood, and Ashton Irwin — first emerged in 2011 as teenagers uploading covers to YouTube. Now, in their early thirties, they have matured into seasoned musicians who can balance nostalgia with reinvention. Their four new entries — “Start Over” (#133), “Chest” (#150), “Wishful Dreaming” (#166), and “I’ll Find You” (#176) — together form a snapshot of where the band stands today: reflective, ambitious, and still brimming with energy. “Start Over” at #133 sets the tone. It’s a track about renewal, about finding the courage to rebuild after setbacks. Musically, it channels the pop‑punk spirit that defined their early years, with driving guitars and anthemic choruses, but the lyrics carry a maturity that speaks to their growth. Luke Hemmings’ vocals are both vulnerable and determined, and the band’s harmonies add emotional depth. It feels like a rallying cry not just for fans but for the band themselves, a declaration that they are ready to embrace new beginnings. “Chest” at #150 is more intimate, leaning into metaphor and emotion. The title suggests a place where secrets and feelings are stored, and the song explores themes of vulnerability and exposure. The instrumentation is more restrained, with softer guitar lines and a focus on atmosphere. Michael Clifford’s guitar work adds texture, while Calum Hood’s bass grounds the track in warmth. It’s a song that invites listeners to look inward, to confront the emotions we often keep hidden. For a band once known primarily for youthful exuberance, this kind of introspection marks a significant evolution. “Wishful Dreaming” at #166 carries a wistful tone, blending optimism with melancholy. The lyrics speak of longing for something just out of reach, a dream that may never fully materialize but still fuels hope. Ashton Irwin’s drumming drives the track forward, giving it momentum even as the vocals linger in uncertainty. The production balances brightness with shadow, creating a soundscape that feels both expansive and fragile. It’s a reminder that 5 Seconds of Summer are capable of crafting songs that resonate emotionally while still maintaining their pop‑rock edge. Finally, “I’ll Find You” at #176 closes the quartet with urgency and determination. The title itself is a promise, and the song delivers on that sense of pursuit. The band leans into a more dramatic arrangement, with soaring vocals and dynamic shifts in instrumentation. It feels cinematic, almost like a soundtrack to a journey or a search. The lyrics emphasize loyalty and persistence, themes that connect deeply with fans who have grown alongside the band. It’s a fitting conclusion to this set of debuts, encapsulating both the band’s resilience and their commitment to connection. Taken together, these four tracks show the breadth of 5 Seconds of Summer’s artistry. From the anthemic energy of “Start Over” to the introspection of “Chest,” the wistfulness of “Wishful Dreaming,” and the cinematic drive of “I’ll Find You,” the band demonstrates versatility without losing cohesion. At this stage in their career, they are no longer just the youthful pop‑punk act that burst onto the scene; they are mature musicians capable of exploring complex emotions while still delivering hooks that resonate. Their simultaneous debuts at #133, #150, #166, and #176 are not just chart entries — they are milestones in a journey that continues to evolve. For fans, it’s a gift of variety; for the band, it’s proof that their creative fire is far from extinguished.
	At #135, Helena makes her debut with “Tout a Changé,” a track that immediately signals transformation both in title and in sound. Helena, a French singer‑songwriter in her late twenties, has been steadily building her reputation in the Parisian indie‑pop scene, blending chanson traditions with modern electronic textures. This entry marks her fourth appearance on the Euro 200, and it’s a striking one: the song’s title translates to “Everything Has Changed,” and that sentiment runs through every layer of the track. The production is sleek yet understated, with shimmering synths and a steady beat that feels contemplative rather than explosive. Helena’s voice is the centerpiece — warm, expressive, and tinged with melancholy. She sings with a kind of quiet conviction, as if narrating a personal metamorphosis. The arrangement allows her vocals to breathe, creating space for listeners to absorb the emotional weight of the lyrics. Lyrically, “Tout a Changé” explores themes of transition, loss, and renewal. Helena reflects on relationships and identities that no longer fit, acknowledging the pain of change but also its necessity. The song doesn’t wallow in nostalgia; instead, it embraces the inevitability of growth. Lines about leaving behind old versions of oneself resonate universally, making the track relatable to anyone who has faced the disorientation of change. It’s both personal and collective, a meditation on how time reshapes us all. The debut at #135 is significant because it positions Helena as a fresh voice capable of reaching beyond France. While her roots are firmly in the French tradition of poetic songwriting, the polished production and universal themes give “Tout a Changé” international appeal. At a time when European charts are dominated by established stars, Helena’s entry feels like a breath of fresh air, proof that new voices can still break through with authenticity. For Helena, this moment is more than just a chart position. It’s a milestone in her artistic journey, a declaration that she is ready to step onto a larger stage. “Tout a Changé” at #135 is not only a song about transformation — it embodies transformation itself, marking the arrival of an artist who is poised to evolve and expand her influence in the years ahead.
	At #144, Ninho arrives with “Skywalker Haze – A COLORS Show,” a debut that feels both futuristic and grounded. Ninho, born William Nzobazola in Longjumeau, France in 1996, is now 29 years old and widely recognized as one of the most successful French rappers of his generation. His career has been marked by a string of platinum albums and collaborations across the French rap scene, but this entry is special: it’s tied to the COLORS platform, known for its minimalist aesthetic and focus on raw performance. “Skywalker Haze” is a title that immediately evokes imagery of space, smoke, and drifting atmospheres. The track leans into that vibe with a hazy, hypnotic beat, built on slow‑burning synths and deep bass. Ninho’s delivery is smooth yet commanding, his voice cutting through the fog with precision. Unlike some of his more aggressive tracks, this one feels contemplative, almost dreamlike, as if he’s narrating from within the haze itself. The COLORS performance format enhances this mood, stripping away distractions and placing the spotlight entirely on his presence and words. Lyrically, Ninho explores themes of ambition, detachment, and the surreal experience of success. The “Skywalker” reference suggests elevation, a sense of being above the ordinary, while “Haze” grounds the track in the disorientation that comes with fame and excess. He balances bravado with reflection, acknowledging both the allure and the emptiness of the lifestyle. It’s a nuanced portrayal that resonates with listeners who crave authenticity in rap. The debut at #144 is significant because it shows Ninho’s ability to adapt his artistry to different platforms and aesthetics. COLORS has become a global showcase for artists, and his participation signals his intent to reach audiences beyond France. At 29, he is at the peak of his career, and “Skywalker Haze” demonstrates that he can experiment with mood and style while maintaining his lyrical sharpness. This track is not just another addition to his catalog; it’s a performance piece, a moment of clarity within the haze. “Skywalker Haze – A COLORS Show” at #144 confirms Ninho’s place as a versatile, evolving artist who can command attention in any setting.
	At #153, we find a fierce new entry: Malik Montana & Gzuz – “Generał.” This collaboration brings together two heavyweights from different corners of Europe’s rap scene, and the result is as explosive as the title suggests. Malik Montana, born in 1989 in Hamburg but raised in Poland, is 36 years old and has become one of the most recognizable figures in Polish hip‑hop. Gzuz, born Kristoffer Klauß in Hamburg in 1988, is 37 and a member of the notorious 187 Strassenbande, known for their uncompromising street rap. Together, they deliver a track that feels like a declaration of war — raw, uncompromising, and unapologetically aggressive. “Generał” translates to “General,” and the song embodies military imagery: authority, command, and dominance. The beat is heavy, built on pounding drums and ominous synths that create a sense of march‑like intensity. It’s not subtle — it’s designed to hit hard, to overwhelm, to assert control. Malik Montana’s verses are sharp and direct, delivered with his trademark mix of Polish and English slang, while Gzuz brings his gritty German cadence, adding weight and menace. The interplay between their voices highlights the cross‑border nature of modern European rap, where language barriers dissolve in the face of shared energy. Lyrically, the track is about power, survival, and respect. Both artists position themselves as generals in their respective scenes, commanding loyalty and asserting dominance. There’s bravado, of course, but also a sense of authenticity: these are artists who have built reputations on raw storytelling and lived experience. The militaristic metaphor underscores their refusal to compromise, their insistence on leading rather than following. The debut at #153 is significant because it shows the growing influence of Eastern and Central European rap within the broader Euro 200 landscape. Malik Montana has long been a bridge between Polish rap and international sounds, while Gzuz embodies the raw energy of German street rap. Together, they create a track that resonates across borders, appealing to fans who crave intensity and authenticity. “Generał” is not just a song; it’s a statement of intent. At 36 and 37, Malik Montana and Gzuz are seasoned veterans, but this collaboration proves they are still hungry, still ready to command attention. Their entry at #153 confirms that European rap is not only diverse but also increasingly interconnected, with artists joining forces to amplify their impact.
	At #159, Esdeekid makes his debut with “Century,” a track that feels like a bold statement from a rising artist. Esdeekid, a young rapper and producer from Liverpool, has been steadily carving out his place in the underground scene, and this entry marks his first appearance on the Euro 200. The title “Century” suggests ambition, longevity, and the desire to leave a mark that lasts beyond the moment — and the song delivers on that promise. The production is sharp and modern, built on trap‑influenced beats with a futuristic edge. Heavy bass lines drive the rhythm, while atmospheric synths create a sense of scale, as if the track is reaching for something monumental. Esdeekid’s flow is fast, confident, and unapologetic, showing off technical skill while maintaining accessibility. His voice carries urgency, the sound of someone determined to break through and claim space in a crowded landscape. Lyrically, “Century” is about legacy and resilience. Esdeekid raps about overcoming obstacles, about refusing to be forgotten, and about building something that endures. The metaphor of a century — one hundred years — underscores the idea of permanence, of striving for greatness that outlasts fleeting trends. There’s bravado, but also sincerity: the track is not just about dominance, but about the hunger to create meaning. The debut at #159 is significant because it signals the arrival of a new voice in European rap. While established names dominate the upper reaches of the chart, Esdeekid’s entry shows that fresh talent can still break through. At a time when Polish rap is gaining international attention, “Century” positions him as part of that wave, ready to contribute to the genre’s expansion beyond national borders. “Century” is more than just a debut single; it’s a mission statement. Esdeekid uses the track to announce himself, to declare that he is here to stay, and to invite listeners to witness the beginning of what could be a long and impactful career.
	At #168, we encounter Clarent – “Love”, a brand‑new debut that feels like a quiet but striking arrival. Clarent is a fresh name in the European scene, and “Love” at #168 is his first appearance on the Euro 200. The title is simple, universal, and timeless — but the way he approaches it is anything but generic. The track opens with minimalist production: a sparse beat, atmospheric synths, and a melody that feels suspended in air. Clarent’s vocals are intimate, almost whispered, as if he’s confiding directly to the listener. There’s a vulnerability in his tone that sets him apart from the louder, more aggressive entries on the chart. Instead of shouting about love, he reflects on it, exploring its fragility and its power to transform. Lyrically, “Love” is about connection and risk. Clarent sings of opening oneself up, of the fear of rejection, and of the courage it takes to embrace intimacy. The simplicity of the title mirrors the directness of the message: love is both the most common theme in music and the most difficult to capture authentically. Clarent manages to do so by stripping away excess and focusing on raw emotion. His words resonate because they feel lived‑in, not manufactured. The debut at #168 is significant because it introduces a new voice with clear potential. While many newcomers aim for instant impact with flashy production, Clarent chooses subtlety, and that choice makes him stand out. The track’s placement suggests that listeners are responding to its honesty, its quiet strength. At a time when the charts are filled with high‑energy collaborations and established stars, “Love” offers a moment of pause, a reminder of the power of simplicity. “Love” is not just a debut; it’s a statement of identity. Clarent positions himself as an artist unafraid to be vulnerable, to embrace softness in a genre often dominated by bravado. His entry at #168 hints at a promising future, one where his voice could become a distinctive presence in the European music landscape.
	At #178, Lune makes her debut with “Ich Vermisse Dich” — a title that translates to “I Miss You.” This entry is striking because it introduces a new voice into the Euro 200, one that leans into vulnerability rather than bravado. Lune, a German singer in her early twenties, has been steadily building a following with her emotive pop‑rap style, and this track marks her first appearance on the chart. The song opens with a delicate piano motif, soon layered with subtle beats that give it a modern edge without overwhelming the intimacy of the vocals. Lune’s voice is soft yet piercing, carrying the weight of longing in every syllable. She doesn’t belt; she confides. That choice makes the track feel personal, almost like a diary entry set to music. The production mirrors the theme of absence — sparse, spacious, leaving room for silence to echo. Lyrically, “Ich Vermisse Dich” is direct and heartfelt. Lune sings about the ache of missing someone, the emptiness left behind, and the small details that trigger memory. The simplicity of the words is part of their power: she doesn’t hide behind metaphor, she states the feeling plainly, and that honesty resonates. It’s a song that captures the universal experience of loss and longing, making it accessible to listeners across languages and cultures. The debut at #178 is significant because it shows that audiences are connecting with her authenticity. In a chart often dominated by high‑energy tracks and established stars, Lune’s quiet sincerity stands out. At just the beginning of her career, she demonstrates that vulnerability can be as compelling as spectacle. “Ich Vermisse Dich” is not just a debut single; it’s an introduction to an artist who is willing to bare her emotions and invite listeners into her world. For Lune, this moment is a milestone. “Ich Vermisse Dich” at #178 signals the arrival of a new voice in German pop, one that is likely to grow louder and more influential in the years ahead.
	At #199, we close out the list of newcomers with Mata – “Haters Gonna Hate.” Mata, born Michał Matczak in Poland in 2000, is now 25 years old and one of the most talked‑about figures in Polish rap. Known for his sharp wit, social commentary, and ability to stir controversy, he has become a voice of his generation, blending humor with biting critique. His debut here at #199 is a reminder that even when he plays with irony, he still commands attention. “Haters Gonna Hate” is a title that speaks for itself. The track is built on a playful yet aggressive beat, with trap‑style percussion and a bassline that thumps like a heartbeat. Mata’s flow is quick, sarcastic, and unapologetic. He leans into the cliché phrase but twists it into something uniquely his own, using it as a shield against criticism and as a weapon to mock those who doubt him. The production mirrors this duality: lighthearted in tone, but heavy in impact. Lyrically, the song is a manifesto of resilience. Mata addresses detractors directly, acknowledging their presence but refusing to be defined by them. He flips negativity into fuel, turning hate into proof of his relevance. There’s bravado, of course, but also self‑awareness: he knows that being polarizing is part of his brand, and he embraces it. The humor in his delivery keeps the track from feeling defensive; instead, it comes across as confident and cheeky. The debut at #199 is significant because it shows Mata’s ability to break into the Euro 200 despite being primarily a Polish phenomenon. His influence is expanding, and “Haters Gonna Hate” demonstrates that his style — witty, confrontational, and playful — resonates beyond national borders. At 25, he is still early in his career, but this entry confirms that he has the charisma and creativity to sustain long‑term success. “Haters Gonna Hate” is not just a song; it’s a statement of identity. Mata positions himself as an artist who thrives on controversy, who refuses to be silenced, and who turns criticism into art. At #199, he closes the list of newcomers with a bang, reminding listeners that sometimes the most powerful response to hate is simply to keep creating.
	Look at last week's reviews here
	"The Hitmaster: mastering the rhythm of chart-topping hits."