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	Current EURO200
	New entries in the EURO200                                       Review for week 51 - 2025
	At #52 this week we find BLOK3 with “KUSURA BAKMA,” a track that feels like both a confession and a declaration. BLOK3 is a group that has been carving its own space in the Turkish rap scene, blending sharp beats with lyrics that carry the weight of everyday struggles. The phrase “kusura bakma” translates loosely to “sorry” or “don’t take it the wrong way,” and the song plays with that tension between apology and defiance. It is not a soft apology, but rather a statement of identity, a refusal to bend too far while still acknowledging the scars of life. The members of BLOK3 are young, but their music already carries the tone of experience. They grew up in neighborhoods where rap was more than entertainment, it was survival, a way to speak about realities that were often ignored. One of the group’s anecdotes often shared in interviews is how they started recording in a tiny bedroom studio, borrowing equipment and trading beats late into the night. That sense of DIY energy still pulses through their work, even now that they are reaching wider audiences. “KUSURA BAKMA” is built on a heavy rhythm, a beat that feels like concrete under your feet. The verses are sharp, almost clipped, but the chorus opens into something more melodic, a reminder that even in toughness there is vulnerability. The track’s rise to #52 shows how much listeners connect with that duality. It is not just about anger or pride, it is about the complexity of being young, ambitious, and caught between tradition and modernity. What makes BLOK3 stand out is their ability to mix local flavor with global rap influences. You can hear echoes of American trap, but also the unique cadence of Turkish street slang. The song feels rooted in Istanbul’s restless energy, where cultures collide and music becomes a language of resistance. “KUSURA BAKMA” is not polished pop, it is raw and alive, and that is exactly why it resonates. As Robe’s passing casts a shadow over this week’s chart, BLOK3’s entry feels like a reminder of continuity. Extremoduro once gave voice to rebellion in Spain, and now BLOK3 carries that same spirit in Turkey. Different languages, different sounds, but the same urgency: to speak, to resist, to live loudly. At #52, “KUSURA BAKMA” is more than a new entry, it is a statement that rap in Turkish is not just surviving, it is thriving.
	At #59 this week we find KATO with “TURN THE LIGHTS OFF,” a track that feels both intimate and restless, as if it was written in the quiet hours when the world slows down but the mind refuses to sleep. KATO is a Danish producer and DJ, born Thomas Kato Vittrup, who first rose to fame in the late 2000s with his energetic club tracks. He is now in his mid‑forties, but his music still carries the pulse of youth, mixing electronic beats with pop sensibility. “TURN THE LIGHTS OFF” shows that he has not lost his touch for creating songs that feel like they belong both in the club and in the headphones of someone walking alone at night. The song itself is built around a hypnotic rhythm, a beat that circles back on itself like a heartbeat. The lyrics are simple but effective, playing with the idea of shutting out the world, of finding a private space where emotions can be raw and unfiltered. There is a tension between escape and confrontation: turning the lights off can mean hiding, but it can also mean focusing on what really matters when distractions fade. KATO uses this duality to create a track that feels personal yet universal. What makes this entry at #59 interesting is how it reflects KATO’s journey. He started out remixing tracks in small Danish clubs, often working until dawn, and he has spoken about how those nights shaped his sound. The energy of the dance floor, the way people lose themselves in rhythm, became the foundation of his career. “TURN THE LIGHTS OFF” carries that same DNA, but with a more mature edge. It is less about pure euphoria and more about reflection, about the spaces between the beats. Listeners seem to connect with that balance. The track is not explosive, but it lingers, it grows on you. It feels like a song that could soundtrack a moment of solitude, or the last dance before sunrise. In the context of this week’s chart, where tributes to Robe and Extremoduro remind us of music’s power to confront chaos, KATO’s entry offers a quieter form of rebellion. It suggests that sometimes turning away from the noise is its own act of strength. At #59, “TURN THE LIGHTS OFF” is more than just another electronic track. It is a reminder of KATO’s ability to evolve, to take the energy of his early career and reshape it into something deeper. It is a song that asks us to pause, to listen closely, and to find meaning in the dark.
	MERYL was born in Martinique, a French Caribbean island where zouk, dancehall, and rap mingle in everyday life, and that blend still shapes her voice today. This week “COCO CHANEL” is new at #65, a fresh collaboration between MERYL and EVA that moves like a runway walk but hits like street poetry. The title is bold by design. “COCO CHANEL” is a symbol of self‑invention, elegance, and a refusal to be defined by anyone else’s rules. MERYL and EVA turn that symbol into sound, mixing sharp verses with a glossy hook that sticks. MERYL is in her twenties, but there is seasoned confidence in her delivery. She started in small studios, uploading tracks and slowly building a following, proving that grit and style can grow side by side. EVA comes from Nice and has become one of France’s most streamed artists, known for turning everyday feelings into melodic refrains that linger. Together they create a chemistry that feels easy, like two different lanes merging into one fast road. The production on “COCO CHANEL” is clean and tight. The beat rides low, the synths glide, and there is space for the voices to breathe. MERYL brings her Caribbean cadence, a rhythm that bounces without forcing it, while EVA smooths the edges with melody. It is a meeting point between club and radio, between steel and silk. The lyrics turn fashion into a language of agency: dress how you want, move how you want, speak how you want. That is the pulse beneath the polish. New at #65, the track marks how fast the French scene is opening to global textures. You can hear trap’s backbone, but also the island sway that makes it feel warmer, more human. In a week filled with tributes and heavy emotion, “COCO CHANEL” offers a different kind of strength. Not noise. Not anger. Presence. A clear voice claiming space and doing it with style. MERYL and EVA show that confidence can be tender, and elegance can be a kind of fight. It is a new entry that feels earned, not engineered.
	LETO has always been one of the sharpest voices in French rap, a Parisian artist who grew up in the 17th arrondissement and turned his street stories into music that resonates far beyond his neighborhood. He is now in his late twenties, but his career already spans more than a decade, first as part of PSO Thug and later as a solo act. This week he joins forces with LE CRIME for “BALLON D’OR,” new at #69, a track that takes its title from football’s most prestigious award and turns it into a metaphor for ambition, success, and the hunger to be recognized. The song is built on a heavy beat, with bass lines that hit like stadium drums. The verses are sharp, full of references to luxury, struggle, and the grind of daily life. “BALLON D’OR” is not just about football glory, it is about the dream of rising above circumstances, of being the best in a world that often tries to hold you back. LETO’s delivery is confident, almost casual, as if greatness is not a distant dream but something already within reach. LE CRIME adds grit to the track, his voice darker, more urgent, creating a balance between swagger and rawness. What makes this collaboration stand out is how it connects rap culture with football culture. In France, both are languages of the street, both are ways for young people to imagine a future beyond the limits of their environment. The Ballon d’Or is a symbol everyone understands: the golden prize, the proof that you are number one. By using it as a metaphor, LETO and LE CRIME speak directly to listeners who know what it means to chase recognition, whether on the pitch or in life. New at #69, “BALLON D’OR” feels like a statement of intent. It is not just another track, it is a declaration that French rap continues to evolve, pulling in symbols from sport, fashion, and everyday struggle to create something bigger than music. LETO’s career has always been about ambition, and this song shows he is still chasing the top, still hungry, still ready to prove himself. LE CRIME’s presence adds weight, reminding us that success is never just about shine, it is also about the fight behind it. In a week where the charts carry both tributes and fresh voices, “BALLON D’OR” is a reminder that rap thrives on ambition. It is a song that celebrates the dream of being the best, but also acknowledges the grind it takes to get there. LETO and LE CRIME deliver a track that feels both celebratory and grounded, a golden prize wrapped in bass and rhyme.
	There is something almost cinematic about seeing NOYZ NARCOS return with two new entries in the same week. He has been called the godfather of Italian hardcore rap, a figure who shaped Rome’s underground scene in the early 2000s and never lost his edge. Born Emanuele Frasca, now in his mid‑forties, he carries the weight of experience in every verse. His voice is gravelly, his delivery uncompromising, and his lyrics often feel like snapshots of a city’s darker corners. This week, he appears twice in the Euro200, reminding listeners that his influence is still alive and evolving. At #99, new in the chart, comes “IL MIO AMICO,” a collaboration with KID YUGI and SINE. The title means “my friend,” but the song is not a simple ode to companionship. It is layered, mixing loyalty with the harsh realities of street life. KID YUGI, one of the most promising young rappers in Italy, brings sharp energy to the track, his flow fast and precise, while SINE adds texture with production that feels both raw and polished. Together they create a piece that balances old‑school grit with new‑school ambition. NOYZ NARCOS anchors it all, his verses heavy with lived experience, reminding us that friendship in his world is not casual—it is survival. Then at #105, also new this week, we find “FINALE DIVERSO,” featuring SHIVA and again SINE. The title translates to “different ending,” and the track feels like a meditation on choices, on how paths can diverge even when they start in the same place. SHIVA, one of Italy’s most streamed young rappers, brings a melodic edge, his voice smoother, more reflective, contrasting with NOYZ’s raw delivery. SINE’s production ties it together, creating a beat that feels tense but spacious, allowing the words to breathe. The song becomes a dialogue between generations: NOYZ representing the hardened past, SHIVA the restless present, and together they sketch out a vision of futures that might collide or separate. What makes these two entries remarkable is how they show NOYZ NARCOS as both mentor and collaborator. He is not retreating into nostalgia; he is opening space for younger voices, letting them challenge him, letting them reshape the sound. “IL MIO AMICO” and “FINALE DIVERSO” are not just songs, they are bridges—between eras, between styles, between visions of Italian rap. New at #99 and #105, these tracks prove that NOYZ NARCOS is still a central figure, not only because of his past but because of his ability to adapt, to remain relevant, to keep pushing. In a week where the charts carry tributes and fresh arrivals, his double presence feels like a statement: Italian rap is not slowing down, it is expanding, and he is still at the heart of it.
	GEOLIER has become one of the most recognizable voices in Italian rap, a young artist from Naples who has built his career on authenticity and the raw energy of his city. At just twenty‑five, he already carries the weight of a generation, and his music reflects the streets where he grew up, full of contradictions, beauty, and struggle. This week he enters the Euro200 with “081,” new at #114, a track that is more than just another single—it is a statement of identity. The title itself refers to the telephone prefix of Naples, a code that instantly signals belonging, pride, and roots. “081” is a song that pulses with local flavor. The beat is heavy, dark, and hypnotic, but GEOLIER’s flow cuts through with precision, switching between Italian and Neapolitan dialect. That linguistic mix is one of his trademarks, and it gives his music a texture that feels both intimate and defiant. He is not just rapping, he is preserving a culture, turning dialect into rhythm, and showing that Naples can speak to the world without losing its voice. The track’s rise to #114 shows how much listeners connect with that sense of place. GEOLIER has often said that he wants to represent his city honestly, without romanticizing or hiding its struggles. “081” does exactly that. It is proud but not naive, strong but not blind to pain. The lyrics speak of loyalty, ambition, and the reality of growing up in an environment where survival and success are intertwined. What makes GEOLIER stand out is his ability to balance toughness with vulnerability. His delivery is sharp, but there is always emotion underneath, a sense that he is not just telling stories but living them. “081” feels like a continuation of that journey, a track that roots him firmly in Naples while pushing his sound further into the European mainstream. New at #114, “081” is more than a chart entry. It is a reminder that rap is not only about beats and rhymes, but also about geography, about the places that shape us. GEOLIER brings Naples into the Euro200, and in doing so, he proves that local pride can resonate globally.
	Robe Iniesta was never just a singer. He was a poet who chose rock as his language, a man who carried Extremoduro from the streets of Plasencia into the heart of Spanish culture. His death this week at sixty‑three has left a silence that feels heavier than most. To write about him now is to write about a figure who turned chaos into beauty, who believed that music could be both brutal and tender, both philosophical and raw. Extremoduro was not a band that followed rules, it was a band that broke them, and in doing so created a new path for Spanish rock. The arrival of six Extremoduro tracks in the Euro200 this week feels like a collective tribute. It is as if listeners across Europe have decided to keep his voice alive by pushing his songs back into the charts. Each track carries a piece of his story, each one a reminder of how he shaped generations. At #117 comes “SI TE VAS...” from 2011, a song that captures the fragility of departure. It is not just about leaving, it is about the pain of absence, the way love can dissolve into silence. Robe’s voice trembles between anger and vulnerability, and the band builds a soundscape that feels both intimate and explosive. To hear it now, in the week of his passing, is to hear a man who already knew how to turn loss into art. At #129 we find “LA VEREDA DE LA PUERTA DE ATRÁS,” released in 2002. This track is one of the band’s most iconic, a hymn to rebellion and freedom. The title itself suggests a secret path, a way of escaping the ordinary. Robe’s lyrics are full of metaphors, twisting language into something that feels like poetry shouted over guitars. The song has always been a favorite among fans, and its return to the charts is a reminder that Extremoduro was more than music—it was a philosophy of living outside the rules, of finding beauty in the margins. “STAND BY,” at #144, also from 2002, shows another side of the band. It is slower, more reflective, a song that lingers in melancholy. Robe’s voice here is weary, almost resigned, and yet the words carry a strange hope. The track feels like a pause, a moment of suspension between chaos and clarity. In the context of his death, “STAND BY” becomes almost prophetic, a song about waiting, about holding on even when the future is uncertain. It is one of those pieces that prove Extremoduro was not only about rage and rebellion, but also about fragility and doubt. At #151 comes “SO PAYASO,” released in 1997, one of the band’s most playful yet biting songs. The title translates roughly to “I’m a clown,” and the lyrics mix humor with self‑criticism. Robe often used irony to expose deeper truths, and here he turns himself into a character, mocking the absurdity of existence while still finding joy in it. The guitars are sharp, the rhythm infectious, and the song remains a fan favorite because it shows how Extremoduro could be both serious and mischievous. To see it chart again now is to remember that Robe never took himself too seriously, even as he wrote some of the most profound lyrics in Spanish rock. At #157, “DULCE INTRODUCCIÓN AL CAOS,” from 2008, closes the circle. The title alone feels like a summary of Robe’s entire career: a sweet introduction to chaos. The song is long, sprawling, almost symphonic in its ambition. It begins softly, almost tenderly, before exploding into a storm of sound. Robe guides the listener through a journey that feels both personal and universal, a meditation on life’s disorder and the beauty hidden within it. In many ways, this track is the essence of Extremoduro: chaos transformed into poetry, disorder turned into meaning. And now, at #187, comes “SALIR,” a newcomer that feels like a final farewell. The title—“to leave”—is stark, direct, and yet layered with meaning. Robe sings with a rawness that suggests both escape and transcendence, as if stepping beyond the confines of pain into something freer. The guitars surge with urgency, the rhythm restless, embodying the tension between departure and liberation. In the week of his passing, “SALIR” resonates like a message left behind: a reminder that leaving is not only an end, but also a beginning. It is a song that turns absence into movement, silence into defiance, and grief into a path forward. Together, these six songs form a portrait of Robe Iniesta. They show his range, from vulnerability to rebellion, from irony to philosophy. They remind us that Extremoduro was not just a band but a movement, one that challenged the boundaries of rock and language. Robe’s lyrics were often compared to literature, and his fans saw him as a poet as much as a musician. His death marks the end of an era, but the resurgence of these tracks proves that his voice will not fade. Listening to “SI TE VAS...,” “LA VEREDA DE LA PUERTA DE ATRÁS,” “STAND BY,” “SO PAYASO,” “DULCE INTRODUCCIÓN AL CAOS,” and  “SALIR” this week is not just about nostalgia. It is about recognizing the timelessness of his work. Each song carries the weight of its year—1997, 2002, 2008, 2011—but together they feel eternal. They remind us that Robe’s art was always about confronting life directly, without masks, without compromise. Extremoduro was born in the late 1980s, in a Spain still searching for its identity after dictatorship. Robe gave voice to a generation that wanted freedom, that wanted to shout, that wanted to feel. His band became the soundtrack of rebellion, but also of love, loss, and reflection. Now, as fans mourn his passing, the charts themselves have become a memorial. Seven songs rising again, seven echoes of a man who believed that music could change the way we see the world. Robe Iniesta is gone, but his words remain. His songs are still climbing, still speaking, still breaking rules. And maybe that is the greatest tribute: that even in death, he continues to teach us how to live with chaos, how to find poetry in the noise, how to turn pain into beauty.
	Darlene Love’s “Christmas (Baby Please Come Home)” is one of those songs that feels eternal, but this week it makes a fresh return, new at #123 in the Euro200. First released in 1963 on Phil Spector’s holiday compilation A Christmas Gift for You from Philles Records, the track has grown from a seasonal curiosity into one of the most beloved Christmas standards. Its wall‑of‑sound production, written by Ellie Greenwich and Jeff Barry, surrounds Love’s soaring voice with bells, strings, and harmonies that still sound powerful more than sixty years later. Darlene Love herself was born in Los Angeles in 1941, and she is still alive today at 84. Her career began in church choirs before she became one of the most sought‑after studio vocalists of the 1960s, lending her voice to hits credited to groups like The Crystals and working with legends such as Sam Cooke and Elvis Presley. Beyond her recording career, she appeared in films and stage productions, and in 2011 she was inducted into the Rock and Roll Hall of Fame. Remarkably, she continues to perform, touring with her “Love for the Holidays” concerts and keeping this very song at the center of her repertoire. “Christmas (Baby Please Come Home)” is not just a nostalgic track; it is a living tradition. Every December, it resurfaces on radio and streaming playlists, and its re‑entry at #123 this week shows how listeners still find comfort in its mix of longing and joy. The lyrics plead for reunion, for love to return during the holidays, and Love’s delivery makes that plea universal. It is both personal and communal, a song that captures the bittersweet side of Christmas. New at #123, the track reminds us that holiday music is not only about cheer but also about memory, about voices that carry across generations. Darlene Love’s voice remains one of the most powerful in soul and pop history, and her presence in the charts today proves that even after six decades, her Christmas anthem still belongs to the season.
	LSP arrives this week with “SHINSHILLY,” new at #136, and the track feels like a mysterious spark in the chart. LSP is an artist who thrives on atmosphere, someone who builds songs less like straightforward rap or pop and more like cinematic soundscapes. His background is rooted in the underground, where experimentation is not just allowed but expected, and “SHINSHILLY” shows how he can take that spirit and push it into the mainstream. The title itself is unusual, almost playful, and it sets the tone for a track that refuses to be ordinary. “SHINSHILLY” moves with a hypnotic beat, layered with textures that shimmer and fade, like neon lights flickering in the dark. LSP’s voice cuts through with a mix of confidence and detachment, as if he is both inside the song and watching it from a distance. That duality gives the track its edge: it is catchy enough to stick, but strange enough to intrigue. New at #136, the song’s entry shows how listeners are drawn to something different. LSP is not chasing trends, he is bending them, twisting familiar sounds into new shapes. There is a sense of play in the production, but also a seriousness in the delivery, a reminder that even experimental music can carry weight. The lyrics hint at identity and illusion, at the way people present themselves versus who they really are. It is not spelled out, but the mood makes you feel it. What makes “SHINSHILLY” stand out is its refusal to settle. It is not polished pop, nor is it raw rap—it is something in between, a hybrid that feels modern and restless. LSP has always been about pushing boundaries, and this track proves he can do it while still connecting with a wider audience. At #136, “SHINSHILLY” is more than just a new entry. It is a reminder that charts are not only about hits but also about discovery, about the songs that surprise us and make us listen twice. LSP delivers a track that feels like a secret whispered in the middle of the noise, and that is exactly why it matters.
	It almost feels like a fever dream: FATBOY SLIM teaming up with THE ROLLING STONES for “SATISFACTION SKANK,” new at #137 this week. On paper it sounds improbable, but in practice it is exactly the kind of playful collision that makes charts interesting. FATBOY SLIM, born Norman Cook, has always thrived on bending genres—his big beat anthems in the late 1990s turned dance floors upside down with humor, samples, and sheer energy. The Stones, meanwhile, are the eternal rock institution, with “(I Can’t Get No) Satisfaction” standing as one of the most iconic riffs in history. Put them together and you get a track that feels both irreverent and celebratory. “SATISFACTION SKANK” takes the Stones’ classic swagger and filters it through FATBOY SLIM’s lens of club culture. The word “skank” in the title nods to reggae and ska rhythms, but here it’s more about the loose, playful dance energy that Norman Cook loves to inject into his remixes. The track chops up the familiar guitar riff, stretches Mick Jagger’s vocals into unexpected loops, and drops them onto a beat that feels like Brighton beach colliding with a London rock club. It’s cheeky, it’s messy, and it’s deliberately so. New at #137, the song’s entry is curious because it blurs the line between remix, collaboration, and reinvention. It is not a straight cover, nor a simple dance edit—it is a hybrid that treats rock history as raw material for a rave. FATBOY SLIM has always had a knack for turning familiar sounds into something absurdly fun, and here he does it with one of the most sacred rock songs of all time. The Stones, who have never been shy about experimenting, seem to embrace the chaos, letting their legacy be twisted into something that belongs to a new generation of listeners. What makes “SATISFACTION SKANK” stand out is its refusal to be serious. It is a wink, a grin, a reminder that music history is not a museum but a playground. At #137, it may not climb to the top, but its presence is enough to spark conversation. Is it homage? Is it parody? Is it both? Perhaps that’s the point. FATBOY SLIM and THE ROLLING STONES deliver a track that laughs at boundaries, and in doing so, they prove that satisfaction can still be found in the strangest places.
	ADAM’s “TAKU YAK YE” is new at #142 this week, a fresh entry from a Ukrainian band that blends heartfelt pop with soulful lyrics. The group was founded in Kyiv in 2014 by vocalist Mykhailo Klymenko and Alexandra Norova, and despite the recent tragic passing of Klymenko, their songs continue to resonate deeply with listeners. ADAM is not just another pop act. They emerged from Ukraine’s vibrant indie scene, bringing a mix of modern R&B, soul, and pop into a language and style that felt both local and universal. Their music often carries a romantic, emotional tone, with lyrics that celebrate love in its rawest form. “TAKU YAK YE” translates to “Just As You Are,” and the song is exactly that: a declaration of love without conditions, a celebration of imperfection, and a reminder that authenticity is more powerful than polish. New at #142, the track’s entry feels poignant. Mykhailo Klymenko, the band’s frontman, passed away in December 2025 after a long illness, and this chart appearance becomes more than just a statistic—it is a tribute. Fans are revisiting ADAM’s catalog, rediscovering the warmth and sincerity in their songs, and “TAKU YAK YE” stands out as one of their most beloved. The lyrics speak of devotion, of loving someone exactly as they are, and in the current moment, they carry an added weight, echoing the memory of a voice that gave so much to Ukrainian music. The band’s origins in Kyiv are important. ADAM was formed during a time when Ukrainian pop was searching for new identities, and they brought a fresh sound that combined international influences with local soul. Their songs like “Повільно” and “Ау Ау” became hits, but “TAKU YAK YE” remains one of their signature tracks, a piece that captures their essence. For listeners outside Ukraine, this new entry at #142 is an invitation. It is a chance to discover a band that may not yet be a household name internationally but deserves attention. The song is tender yet strong, melodic yet grounded, and it shows how music can cross borders even when born from deeply personal stories. ADAM’s “TAKU YAK YE” is not just a new chart entry—it is a reminder of the power of sincerity in music. It is a song that asks you to listen closely, to feel deeply, and to embrace love in its truest form.
	“HANDZIA” by 100LITSIA is new at #153 this week, and it draws on one of the most famous Ukrainian folk songs, reimagined for a modern audience. The title “Handzia” comes from a traditional Ukrainian ballad that has been sung for generations. The lyrics describe a young woman named Handzia, celebrated for her beauty and charm, with verses full of affectionate metaphors—comparing her to a dove, a fish, a songbird. It is a song of longing and admiration, often performed in folk ensembles and even by the Red Army Choir. The melody is instantly recognizable in Ukraine, a piece of cultural heritage that carries both joy and melancholy. 100LITSIA’s version brings this folk classic into the present. The group, part of Ukraine’s new wave of experimental folk‑fusion acts, takes the traditional text and wraps it in contemporary production. Instead of the purely acoustic arrangements of bayan or choir, “HANDZIA” pulses with modern beats, layered harmonies, and electronic textures. The effect is striking: the song feels ancient and fresh at the same time, a bridge between village tradition and urban soundscapes. New at #153, its chart entry shows how listeners are embracing these cultural reinterpretations. In a time when Ukrainian identity is being asserted more strongly than ever, songs like “HANDZIA” carry symbolic weight. They are not just entertainment, they are statements of continuity, proof that folk heritage can survive and thrive in modern formats. For international audiences, “HANDZIA” is an invitation to discover the richness of Ukrainian folk music. The original lyrics speak of love and devotion, but 100LITSIA’s version adds urgency, turning it into something that resonates beyond its homeland. It is both a celebration and a re‑invention, a track that proves tradition can be dynamic. At #153, “HANDZIA” is more than a new entry—it is a cultural echo, a reminder that even the oldest songs can find new life when artists are willing to experiment. 100LITSIA delivers a track that feels timeless yet contemporary, and that is why it matters.
	SFERA EBBASTA and SHIVA are two of the most dominant names in Italian rap, and when they join forces the result is always explosive. This week they appear together with “COME SE NON FOSSI NEI GUAI,” new at #165, a track that feels like both a celebration of success and a reflection on the cost of ambition. The title translates to “as if I weren’t in trouble,” and that phrase captures the tension at the heart of the song: living fast, chasing dreams, but always aware of the shadows that follow. SFERA EBBASTA, born Gionata Boschetti, is now in his early thirties and widely considered the face of Italian trap. His rise from the outskirts of Milan to international recognition has made him a symbol of how Italian rap can stand alongside global hip‑hop. SHIVA, younger and already one of the most streamed artists in Italy, represents the new generation, blending melodic hooks with sharp verses. Together they create a dynamic contrast: Sfera’s polished delivery against Shiva’s restless energy. The production on “COME SE NON FOSSI NEI GUAI” is sleek and modern, built on a trap beat that pulses with urgency. The verses are full of references to luxury, fame, and the constant balancing act between success and danger. There is bravado, but also a hint of vulnerability, as if both artists are admitting that the glitter of their world comes with cracks underneath. That duality makes the track compelling—it is not just about showing off, it is about revealing the tension of living in the spotlight. New at #165, the song’s entry shows how much Italian rap continues to dominate the charts. Fans connect with the honesty in the lyrics, the way Sfera and Shiva manage to turn personal struggles into universal themes. The chemistry between them is undeniable, and “COME SE NON FOSSI NEI GUAI” feels like a track that could climb higher, fueled by the strength of their combined fanbases. In a week where the charts carry tributes, experiments, and festive classics, this collaboration stands out as pure contemporary rap energy. It is a reminder that Italian hip‑hop is not only thriving but evolving, with artists like Sfera and Shiva pushing the sound forward while staying true to their roots. At #165, “COME SE NON FOSSI NEI GUAI” is more than a new entry—it is a snapshot of Italian rap at its peak, confident, restless, and impossible to ignore.
	“LULLABY” by TOGETHER FOR PALESTINE featuring Nai Barghouti, Neneh Cherry & Leigh‑Anne is new at #166 this week. It is a charity single released in December 2025, created to raise funds for Palestinian relief and to reimagine a traditional folk song as a message of solidarity and hope. The project Together For Palestine grew out of a sold‑out benefit concert at London’s Wembley Arena earlier this year, which raised over £2 million for Gaza. The single “LULLABY” was conceived as a continuation of that effort. Produced by Benji B, Kieran Brunt and Henri Davies, and staged with input from designer Es Devlin, the track brings together more than fifteen UK and Palestinian artists. Among them are Nai Barghouti, a Palestinian singer and composer known for blending Arabic classical music with jazz; Neneh Cherry, the Swedish singer‑songwriter whose career spans from the 1980s to today; and Leigh‑Anne Pinnock, best known as a member of Little Mix, now pursuing her solo career. The song itself is based on the Palestinian folk piece “Yamma Mweel El Hawa” (“Oh Mother, Song of Longing”), a lullaby that has been sung for generations at weddings, in homes, and on street corners. The lyrics in “LULLABY” weave traditional Arabic lines with new English verses, some inspired by the poetry of Mahmoud Darwish. The result is a track that feels both ancient and contemporary, carrying the emotional weight of displacement and resilience while also offering comfort. Why now? The release is timed for the holiday season, when charity singles traditionally find a wide audience. All profits go to the Together for Palestine Fund, managed by the charity Choose Love, supporting Palestinian‑led organizations such as Taawon, the Palestine Children’s Relief Fund, and the Palestine Medical Relief Society. The aim is not only to raise money but also to amplify Palestinian voices in global music culture. New at #166, “LULLABY” is more than just a song—it is a collective act of solidarity. It brings together established stars and emerging voices, crossing genres and cultures to deliver a message of peace, justice, and remembrance. For listeners, it is both a hauntingly beautiful track and a reminder that music can be a powerful tool for empathy and change.
	“TO NIEPRAWDA, ŻE NIE LUBISZ RÓŻ ;” by MATA featuring SOBEL is new at #171 this week, and it marks the second time these two Polish rap heavyweights have joined forces. The track blends MATA’s sharp, ironic storytelling with SOBEL’s emotional, melodic style, creating a song that feels both playful and deeply personal.** MATA, born Michał Matczak, is one of Poland’s most talked‑about rappers of the past five years. He broke through with “Patointeligencja” in 2019, a track that sparked national debate about youth culture, privilege, and rebellion. Since then, he has become a symbol of Polish rap’s new wave, mixing satire with sincerity. SOBEL, younger and equally influential, is known for his ability to fuse rap with pop sensibilities, delivering hooks that stick while still carrying lyrical depth. Together, they represent two different but complementary sides of Poland’s hip‑hop scene. “TO NIEPRAWDA, ŻE NIE LUBISZ RÓŻ ;**” (translated: It’s not true that you don’t like roses) is a track that plays with contradictions. The lyrics weave themes of love, lifestyle, and desire, with MATA’s verses full of witty observations and SOBEL’s parts more vulnerable, almost confessional. The production, handled by Pedro and Tudor, balances a strong rhythmic beat with atmospheric layers, giving the song both energy and intimacy. New at #171, the track’s entry shows how much anticipation there was for this collaboration. The duo had previously worked together only once, on “Pieniądze i sława” from Hotel Maffija 3, and fans had been waiting for a proper single. The release was accompanied by a stylish video, produced by Lemon Film, which underlines the song’s mix of glamour and raw emotion. What makes this track stand out is its ability to capture both the bravado and the vulnerability of modern Polish rap. MATA brings irony and cultural commentary, while SOBEL adds emotional weight, and together they create a song that feels like a dialogue between two generations of listeners. The roses in the title become a metaphor for contradictions: beauty and fragility, love and danger, sincerity and performance. At #171, “TO NIEPRAWDA, ŻE NIE LUBISZ RÓŻ ;**” is more than just a new entry—it is a cultural moment in Polish rap. It shows how collaboration can amplify voices, how irony and emotion can coexist, and how two of the country’s biggest stars can create something that feels both fresh and lasting.
	IRAMA has always been a storyteller who knows how to turn personal emotion into something universal, and with “SENZ’ANIMA,” new at #178, he does it again. There’s a famous anecdote about him writing songs backstage during talent shows in his early career, scribbling verses on scraps of paper while waiting to perform. That restless creativity, the need to capture feelings in the moment, is still present in his music today. “SENZ’ANIMA” carries that urgency: it is a song about emptiness, about the absence of soul in a relationship, yet it is delivered with such passion that it feels alive. The track has quickly become one of the most played songs across Mediterranean countries. From Italy to Spain, Greece, and even coastal radio stations in southern France, “SENZ’ANIMA” is receiving enormous airplay. Its sweeping melody and dramatic vocal performance fit perfectly with the Mediterranean tradition of emotional, expressive pop ballads. You can hear it blasting from cafés in Naples, drifting across beaches in Ibiza, and filling late‑night radio slots in Athens. That reach shows how Irama’s music, though deeply Italian in its roots, resonates with a wider cultural sensibility around the sea—a place where passion, drama, and music have always intertwined. New at #178, the song’s entry feels like more than just another chart statistic. It is proof of Irama’s ability to connect across borders, to take a theme of heartbreak and turn it into a shared experience. “SENZ’ANIMA” is not just about loss, it is about the beauty of expressing that loss, of singing it out loud until it becomes catharsis. And in the lands around the Mediterranean, where music is woven into daily life, that kind of song finds a natural home.
	NINHO, born William Nzobazola in France, has become one of the most streamed and influential rappers in Europe over the past decade. He is known for his ability to balance raw street rap with mainstream appeal, creating tracks that resonate both with hardcore hip‑hop fans and casual listeners. His career has been marked by consistency: every release seems to dominate streaming platforms, and his mixtape series M.I.L.S (“Maintenant Ils Le Savent”) has become a cornerstone of modern French rap. At just 29 years old, he has already broken records in France, with billions of streams and multiple platinum certifications to his name. This week he enters the Euro200 with “+971,” new at #184, the lead single from his upcoming mixtape M.I.L.S 4, scheduled for release in January 2026. The title refers to the international dialing code for the United Arab Emirates, a clear nod to Dubai, which has become a symbol of luxury, ambition, and global success. For NINHO, “+971” is not just a number—it is a metaphor for reaching beyond borders, for living a lifestyle that reflects the rewards of his relentless grind. Produced by Traplysse, the track carries NINHO’s trademark flow: confident, rhythmic, and full of references to wealth, loyalty, and the hustle behind the glamour. The lyrics mix French street slang with international imagery, painting a picture of an artist who has moved from local fame to global recognition. The official video, directed by Harris Kaci, reinforces this theme with visuals of Dubai’s skyline, desert landscapes, and luxury cars, turning the city into a backdrop for ambition. New at #184, “+971” shows how much anticipation there is for M.I.L.S 4. Fans immediately streamed the track in massive numbers, pushing it into the charts within days of release. What makes it stand out is its blend of aspiration and authenticity: NINHO celebrates success, but he never forgets the struggle that made it possible. At #184, “+971” is more than just a new entry—it is the opening chapter of a project that promises to cement NINHO’s place as one of the defining voices of European rap.
	IGO is one of the rising names in Polish pop‑rap, known for his ability to fuse catchy melodies with sharp, modern production. Born Igor Walaszek, he first gained recognition as part of the duo Bass Astral x Igo, where his powerful voice and stage presence became the group’s signature. After the duo split, he launched a solo career that quickly established him as a versatile artist, moving between electronic collaborations and heartfelt pop singles. His solo work shows a maturity and individuality that sets him apart in Poland’s crowded music scene. This week he enters the Euro200 with “BRUCE,” new at #185, a track that feels both playful and cinematic. The title is a nod to Bruce Lee, the martial arts legend, and the song uses that image as a metaphor for strength, resilience, and confidence. IGO has always enjoyed weaving cultural references into his music, and here he turns Bruce Lee into a symbol of personal power, a way of saying that even in chaos, discipline and energy can carry you forward. The production on “BRUCE” is sleek, with a beat that balances electronic polish and urban grit. IGO’s voice, strong and flexible, rides the rhythm with ease, shifting between intensity and melody. The lyrics mix bravado with humor, painting a portrait of someone who refuses to be knocked down, who fights back with style. It is not just about toughness—it is about turning resilience into art. New at #185, the track’s entry shows how much listeners connect with IGO’s unique blend of pop accessibility and rap edge. His solo career has already produced hits like “Helena” and “Goodbye,” but “BRUCE” feels like another step forward, a song that could resonate beyond Poland’s borders thanks to its universal theme of strength and self‑belief. At #185, “BRUCE” is more than just a new entry. It is a declaration of identity from an artist who has proven he can stand alone, and it is a reminder that resilience, like Bruce Lee’s philosophy, can be both powerful and poetic.
	And so we wrap up this week’s parade of newcomers with a wink and a grin: TZANCA URAGANU – MANANCA GAGICA BIO, fresh at #198. If you know the name Tzanca Uraganu, you know he’s the flamboyant king of modern manele—Romania’s party music that thrives on weddings, late‑night revelry, and a touch of chaos. His style is larger than life, his lyrics cheeky and playful, and his performances a guarantee of energy overload. “MANANCA GAGICA BIO” fits perfectly into that tradition. The title itself is a mischievous twist, mixing street slang with irony, as if Tzanca is saying that even in a world of glitter and beats, there’s still room for something “organic.” The track is built on irresistible rhythms, accordion flourishes, and electronic hooks that pull you straight to the dance floor. It’s not pretending to be profound—it’s celebrating the joy of the moment: laughing, dancing, and living without hesitation. New at #198, this entry feels like the perfect finale to the week’s chart stories. Where other tracks carried heavy emotion, political resonance, or melancholic depth, Tzanca Uraganu arrives with a wink and a beat that refuses to let you sit still. It’s the musical equivalent of a sparkling glass of prosecco: light, fizzy, and just a little naughty. So the week doesn’t end with a tear, but with a smile. “MANANCA GAGICA BIO” proves that the charts have space for everything—from serious ballads to festive manele. And honestly, what better way to close out the week than with a burst of Tzanca’s wild energy?
	Look at last week's reviews here
	"The Hitmaster: mastering the rhythm of chart-topping hits."