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	Current EURO200
	New entries in the EURO200                                       Review for week 26 - 2025
	“Bella Napoli” by Roy Bianco & Die Abbrunzati Boys is a flamboyant ode to the zest for life, wrapped in an irresistible Italo-Schlager. Although originally released in 2022, the song is now enjoying an unexpected revival, entering the Euro 200 as the highest new entry this week at #79. It's a fascinating example of how a track, with the right mix of nostalgia and flair, can still seize its moment. The band returns to its musical roots with “Bella Napoli”: grand gestures, romantic exaggeration, and a wink to the golden era of the genre. The lyrics are saturated with longing and idealization of the city of Naples, with lines like “mein Herz schlägt Azzurro in Bella Napoli,” perfectly capturing a sense of escapism. The city is depicted as a dreamscape, a place where love, sunshine, and happiness meet under the shadow of Vesuvius. Musically, the song is a celebration: trumpets, backing vocals, and a chorus that effortlessly lodges itself in your head. The production is polished, yet retains the charm of a classic summer hit. The music video, shot on location in Naples, amplifies the feeling of authenticity and shows that the band masters its theatrical style down to the last detail. What makes “Bella Napoli” so special is its balance between irony and genuine affection for the genre. It’s kitsch with class, over-the-top yet never without heart. At a time when much of music takes itself too seriously, this track offers a welcome escape. No surprise then that, years after its release, it’s finally resonating with a broader audience. Roy Bianco & Die Abbrunzati Boys show that sometimes, good music simply needs time to be embraced.
	Some songs don’t just arrive—they make an entrance. “Désolée” by Anna does exactly that. Debuting at #87 in the Euro 200 and claiming the title of second-highest new entry this week, it feels like the track was already humming in the collective subconscious. Not because it’s formulaic, but because it’s impossible to ignore. From the first beat, it’s clear: this is no typical summer anthem. The production by MILES glides effortlessly between reggaeton and electronic pop without ever leaning on tired tropes. Anna’s voice is sharp, confident, and her flow slices through the sound like a hot knife through gelato. When she sings “Non c’è nessuno che può domare una leonessa,” you believe her—this is not someone who plays by the rules. What makes “Désolée” truly compelling is its fusion of empowerment and melancholy. Beneath the slick hooks and dancefloor-ready rhythm lies a story of pride, distance, and emotional armor. The lyrics are tailor-made for TikTok, sure, but they hold enough substance to linger long after the bass fades. And then there’s the timing. In a landscape where pop can feel like it was stamped out by an algorithm, “Désolée” offers a refreshing counterpoint—perfectly produced, yes, but sparking with human energy. Anna doesn’t just embrace pop polish; she bends it to her will. Whether it’s echoing from club speakers, soundtracking Instagram reels, or whispering through your earbuds on a midnight walk, “Désolée” is everywhere—and rightfully so. Anna isn’t just participating in pop; she’s rewriting the script. No apologies. As she says herself: “Io non chiedo scusa, non sono désolée.” And that’s exactly why it lands.
	Some tracks sound like a statement even before you've made it through the first listen. “Victory Lap” by Fred Again.., Skepta, and PlaqueBoyMax is exactly that kind of song: a sonic sledgehammer debuting at #126 on the Euro 200 but feeling like the opening salvo of something much bigger. What immediately stands out is the raw energy. The track was born on Twitch, tested live at a Brooklyn pop-up rave, and then flung into the world without warning—a release as impulsive as the music itself. Fred Again.., known for his emotionally charged productions, leans into a darker, more uncompromising sound. The beat is industrial, angular, and evokes the vibe of an underground club where the walls sweat and the lights flicker. Skepta delivers with his usual precision. His grime flow is sharp, controlled, and yet explosive. He navigates the beat with the ease of a seasoned warrior. PlaqueBoyMax—known more as a streamer and producer—adds an unexpected texture. His contribution is subtle but vital, an echo of the chaos from which the track emerged. What sets “Victory Lap” apart is its blend of chaos and control. It doesn’t ask for your attention—it demands it. The Doechii sample from “Swamp Bitches” isn’t just dropped in; it’s transformed into a rhythmic anchor that heightens the track’s aggression without overpowering it. In an era where collaborations often feel like strategic moves for the charts, this one is a breath of fresh air. It's gritty, unpredictable, and honest. Not a polished pop product, but an artistic gamble that pays off. “Victory Lap” isn’t a finish line—it’s the starting gun. And if this sets the tone for what Fred Again.. and crew have in store, we’re in for a scorching summer.
	“Sto Bene al Mare” by Marco Mengoni, featuring Sayf and Rkomi, isn’t your typical summer hit—it’s a layered soundtrack for a season that often gets treated too lightly. Debuting at #127 on the Euro 200, it carries more weight than your average beachside ballad. The track opens with deceptive brightness: warm percussion, breezy horns, and a chorus that loops like a mantra. But beneath that sun-soaked surface lies an unsettling question: “Cosa succede dall’altra parte del mare?” While we lather on sunscreen and snap beach selfies, the song reminds us that for others, the sea is a boundary between hope and despair. Sayf opens with an introspective verse about alternate life paths and the weight of societal expectations. His voice comes across like that of a young dreamer keenly aware of his own privilege. Mengoni follows with a melancholy meditation on identity and displacement, while Rkomi balances longing with estrangement. The three voices don’t merely alternate—they merge into a mosaic of perspectives. What makes “Sto Bene al Mare” remarkable is its refusal to conform to the summer-hit formula. There’s no single feel-good vibe here, but a reflection on what it means to feel good in a world that doesn’t always allow it. The production—by DIBLA, Jiz, and Giovanni Pallotti—blends Italian chanson with French pop, R&B, and even hints of gospel, giving the track a cosmopolitan edge. The result is a song that’s not just hummable but thought-provoking. “Sto Bene al Mare” isn’t an escape—it’s a confrontation with the question of whether joy is equally shared. And that may just make it the most relevant summer track of the moment. No clichés, just a mirror in sunlight.
	“Killin’ It Girl” by J-Hope featuring GloRilla doesn’t make a subtle entrance—it’s a bold explosion of beats, swagger, and girl power, debuting at #142 on the Euro 200. The track feels like a high-speed runway show: flashy, loud, and packed with unapologetic attitude. J-Hope opens with a mix of flirtation and admiration, his voice laced with heavy autotune that gives the track a futuristic sheen. Lines like “Runway ready, gotta get some confetti” sound like campaign slogans from a fashion shoot—and that seems entirely intentional. The production—courtesy of Cirkut, Inverness, and Blake Slatkin—is tight and pulsating, gradually unfolding into a synth-driven chorus that latches onto your memory. But it’s GloRilla who takes the song to the next level. Her verse is a masterclass in confidence: raw, rhythmic, and full of quote-worthy one-liners. “Might take your man and tell you go take it to trial” isn’t just audacious—it’s iconic. She injects the track with Memphis grit and makes her performance the undeniable highlight. Still, “Killin’ It Girl” isn’t without flaws. The repetition of the chorus—“You killin’ it, girl”—can grow a bit tiresome after a few listens, and J-Hope’s contribution lacks some of the spontaneity that made his earlier solo work so compelling. Yet as a whole, this is an anthem about celebrating feminine strength, style, and independence. This isn’t background music—it’s a spotlight moment. “Killin’ It Girl” wants to be heard, seen, and, most of all, celebrated. And with GloRilla leading that celebration, it’s impossible not to cheer. This isn’t a love song—it’s a tribute to the woman who walks in and steals the scene. And she does it without ever saying sorry.
	Some songs feel like a sultry summer evening in slow motion—“Yo y Tú” by Beéle, Quevedo, and Ovy on the Drums is exactly that kind of track. Debuting at #151 in the Euro 200, it already sounds like it’s been floating through the streets of Barcelona, Medellín, and Madrid for weeks. This isn’t a hit that crashes in; it’s one that wraps around you gradually. Ovy on the Drums delivers a production that feels like a warm breeze: subtle reggaetón rhythms, sultry synths, and a bassline that simmers just beneath the surface. It’s the perfect canvas for Beéle’s velvet voice, who conjures an atmosphere of intimate fantasy with lines like “Imagínate tú y yo, yo y tú, los dos.” The chorus is addictive in its simplicity—a mantra for steamy nights and lingering glances. Quevedo adds his signature edge: a blend of nonchalance and raw emotion. His verse walks a tightrope between club romance and existential longing, with lines like “Si me doy otro shot quizás se me escapa un ‘I love you’” that manage to be both charming and painfully honest. It’s that vulnerability that lifts the song beyond just another summer fling anthem. What makes “Yo y Tú” truly special is the chemistry between the artists. It doesn’t feel like a long-distance collaboration, but a late-night jam session in a beachside studio with the windows wide open. The track breathes desire, but also carries a quiet kind of hope—as if love, however fleeting, can still feel real for a moment. In a season overflowing with generic bangers, “Yo y Tú” stands out as a rare instance of genuine connection. No shouty hooks or overproduced drops here—just a sensual, sun-drenched ballad that invites you to stop, feel, and dance. Very close. The way it should be.
	Some songs you hear—others, you feel. “Tuman Tantsyuye Po Zemli Povilno” by Y.K. Music belongs to the latter. Not a bombastic debut, but a whisper that gradually settles into your subconscious. New at #158 on the Euro 200, yet it feels like the track has wandered for ages through the misty Carpathians. There’s no verse-chorus structure here, no hit-making formula. Instead, we’re offered an atmospheric soundscape in which the fog quite literally dances across the earth. The song is entirely in Ukrainian and, according to the creators, generated with the aid of artificial intelligence. Yet it sounds anything but mechanical. On the contrary—it breathes. It breathes melancholy, a bond with nature, and a kind of timeless sorrow that resists translation. The vocals are soft, almost ghostlike, as if echoing from another world. The production is minimal yet effective: a slow beat, fragments of traditional melodies, and an echo that lingers like morning fog. It’s music that doesn’t shout—but whispers. And because of that, it resonates all the more deeply. On TikTok, the track has already become a phenomenon, with thousands of videos capturing scenes of nature, ancestry, or memory. This is a song that invites introspection, a pause—not to escape the world, but to truly feel it for a moment. “Tuman Tantsyuye Po Zemli Povilno” isn’t a summer hit. It’s a seasonal shift in sound. A reminder that beauty often moves slowly. And maybe that’s exactly what we need.
	“Kiedy umrę kochanie” by Sanah and Kasia Kowalska is a tender and poetic song that debuts this week at #164 on the Euro 200. The lyrics are based on a poem by Halina Poświatowska, a renowned Polish poet, and you can feel that literary depth in every line. The music is calm and dreamy. Sanah and Kasia sing with deep emotion, and their voices blend beautifully. The lyrics speak of love, parting, and the hope that someone will still hold you close—even after you're gone. It sounds sorrowful, yet comforting. The production is simple but atmospheric. Soft piano, a touch of guitar, and plenty of space for the vocals allow the message to shine through. It’s not a song to dance to, but one to listen to quietly and reflect. What makes this track special is that it’s part of Sanah’s project setting Polish poetry to music. This duet with Kasia Kowalska is the final piece in that series, and it feels like a fitting and graceful conclusion. “Kiedy umrę kochanie” is a song that touches you without demanding attention. It’s small, honest, and full of feeling. Perfect for a quiet evening or a moment of reflection. A beautiful addition to this week’s new entries.
	As soon as “Barrio Lambada” by Fred De Palma kicks off, you know this isn’t a song for the shade. It’s sun on your skin, pavement pulsing with heat, and a chorus that clings like sunscreen on a festival day. New at #168 on the Euro 200, but it carries the energy of a track aiming much higher—and maybe rightfully so. De Palma blends lambada with reggaetón, but without leaning too hard on nostalgia. On the contrary, he calls it “a song that looks to the future.” The beat is sultry and danceable, with a rhythm that practically demands you loosen your hips. Yet it’s not a copy of past summer hits—there’s a raw edge, an urban flair that sets it apart from your average beach banger. The lyrics are filled with images of street parties, fiery glances, and steamy nights. “Ti cercherò alla festa di strada,” he sings, and you can picture it instantly: an Italian piazza lit up with music, lights, and people finding each other in the chaos of summer. That’s the vibe De Palma wants to capture—and he does it convincingly. What gives “Barrio Lambada” extra punch is the context of its release. No club tour, but a deliberate choice to perform in town squares and local festivals. De Palma wants to return to the roots: music for the people, outdoors, together. And you can feel it. The track is already viral on TikTok, but it truly comes alive when blasting from speakers on a warm night under the open sky. No complex message, no deep layers—and it doesn’t need them. “Barrio Lambada” is exactly what it aims to be: a summer injection of rhythm, flair, and Italian charm. And sometimes, that’s all you need. Make it a double tequila.
	“Labubu” by Ekipa, Friz, Kacper Błoński, Postirol, and Kartonii isn’t a track you analyze with a raised eyebrow—it’s one you feel in your gut, your legs, and your feed. New at #170 on the Euro 200, but already trending on TikTok, YouTube, and in the minds of a generation fluent in memes, inside jokes, and viral vibes. The track is a colorful mix of self-mockery, swagger, and group energy. “Nasza paczka jak Labubu — random vibe” isn’t just the chorus—it’s the mission statement: chaotic, vibrant, and fully self-aware. The beat—produced by clearmind—is tight and hyperactive, blending trap, pop, and festival EDM. It’s like an energy drink in audio form. Each artist brings their own flavor: Postirol flirts and fantasizes, Kacper Błoński drops punchlines about gyats and lovesongs, Kartonii rolls in with cherry hair and Murakami references, and Friz reflects on the shift from clubs to festivals. Hi Hania delivers the finishing touch with an empowering verse full of self-care and slay energy. What “Labubu” really shows is that Ekipa isn’t just a music collective—it’s a cultural phenomenon. This track wasn’t made for radio—it was made for the internet. For dances, edits, remixes, and comment sections full of inside humor. And that’s exactly why it works. Is it profound? No. Is it groundbreaking? Maybe not. But “Labubu” is a snapshot of what pop culture sounds like in 2025: fast, loud, and with a wink. And sometimes, that’s exactly what you need. One thing’s for sure: this “random vibe” is anything but random. It’s a strategy. And a party. All at once.
	Imagine this: you're driving down an empty highway just after sunset, windows down, the air still warm from the day. “Afterlife” by Michael Schulte is exactly the kind of song that should be playing on the radio in that moment. New at #181 on the Euro 200, yet it carries the atmosphere of a track that’s long been part of your personal soundtrack. Instead of opening with bombast or beats, “Afterlife” begins with a feeling—a kind of restless hope. Schulte’s voice—clear, fragile, yet determined—guides you through a story of love that transcends everything. Not dramatic, but sincere. No grand metaphors, just vivid images that linger: water as a symbol of grounding, a star as a guide, and the promise “I’ll follow you till the afterlife” as the emotional core. The production is a clever blend of folk and EDM: acoustic guitars gradually give way to pulsing synths, as if the song itself is journeying from the earthly to something greater. It’s danceable, but not pushy—more like a rhythmic heartbeat that carries you along. What makes “Afterlife” special is that it doesn’t try to impress—it invites. It’s not a cry for attention, but a whisper that stays with you. And that’s what gives it power. In a time when much of pop music is about volume and viral hooks, Schulte chooses something else: a song that touches you without overwhelming. Maybe that’s the magic of “Afterlife”: it feels like coming home to a place you’ve never been. And that’s rare. Even at #181. Maybe especially there. Because some songs don’t need chart status to leave a mark—just a listening ear. And an open heart.
	Sometimes a song doesn’t feel like a track—it feels like a map to somewhere you haven’t been yet. “Capo Horn” by Bresh featuring Tedua, new at #184 on the Euro 200, is exactly that kind of musical journey—a voyage through inner storms, lost coordinates, and the hope of finding safe harbor. The title refers to the southernmost tip of South America, infamous among sailors for its treacherous waters. That’s no coincidence: Bresh and Tedua use the sea as a metaphor for life itself—unpredictable, at times merciless, but always full of promise. “A Capo Horn passano tutti i sogni che ho,” sings Bresh, and you feel it: this isn’t a pleasure cruise, it’s a crossing with everything at stake. The production by Dibla and Jiz is cinematic and layered. Rolling synths, subtle strings, and a rhythm that sways like ship planks beneath your feet. Bresh opens with poetic imagery of getting lost and longing, while Tedua intensifies the track with sharp observations and a flow that tears through like a storm. Together, they craft a dual narrative of love, loss, and the search for direction. What makes “Capo Horn” so powerful is its balance between vulnerability and determination. It’s not a lament—it’s a battle cry for those who keep sailing, even when the stars disappear. No surprise it stands out on Bresh’s album Mediterraneo, which as a whole is a tribute to the sea—and everything it symbolizes. “Capo Horn” isn’t a song you stumble upon. It’s a compass. And if you listen closely, it might just point you back to yourself.
	A boy wanders through the night. The city growls. His phone buzzes. “Kyoto” by Kuban, Favst, and Zalia isn’t a song—it’s a slow-motion vanishing act. New at #187 on the Euro 200, yet it feels like it’s been tucked in your backpack for years, between faded train tickets and unopened letters. The beat? Foggy. As if someone filtered techno through a raincoat. Favst doesn’t build a track—he paints a horizon. Zalia doesn’t sing—she whispers memories you’ve never had. And Kuban? He writes poetry with a lighter in his hand. “We left all our peace in Kyoto”—what they took with them: restlessness, longing, a voice that keeps calling. There’s something cinematic here. Not Hollywood-polished, but arthouse-raw. Think: neon on wet asphalt. Think: a taxi waiting without a destination. Think: a love story unfolding in the silence between two messages. “Kyoto” isn’t a festival anthem. It’s the song you play when you’re not sure whether to call home or keep wandering. It’s melancholy in motion. And it’s beautiful. Even—especially—at #187. Because some songs whisper louder than they shout. This is one of them. And you keep listening. Even after it’s gone quiet.
	Ridsa is back—and he’s bringing the sunshine with him. His new track “Me Enamore”, debuting this week at #188 on the Euro 200, is exactly what you need when the days get longer: light, rhythm, and a touch of romance. With a smooth blend of French and Spanish, Ridsa sings about falling in love at first sight. The reggaetón beat is summery and laid-back, yet packs enough punch to get your feet moving. The chorus—“Me enamoré, yo me enamoré / Mama, toi contre moi”—sticks immediately and feels like a danceable love note. What gives this track extra charm is its lightness. No heavy themes, no over-the-top production—just a feel-good song that does what it’s meant to do: put a smile on your face. And that’s exactly Ridsa’s goal with his upcoming album Verano: music that helps you drift away, just for a moment. “Me Enamore” isn’t trying to be a loud summer banger. It’s the song playing while you're sitting on a terrace, drink in hand, sun on your neck—and you think: this moment feels right.
	“Non Basta Mai” is one of those tracks that instantly throws you into the right summer vibe. Capo Plaza, Bresh, and Tony Effe join forces in a collaboration that feels like an impromptu road trip along the Italian coast: energetic, raw, and full of flair. The production by AVA, MARRAMVSIC, and Sick Luke is tight and immersive, with a beat that breathes both melancholy and swagger. It's the perfect backdrop for three voices that complement each other like espresso, sunshine, and a Vespa at full speed. Capo Plaza kicks things off with his signature flow: confident, but with a hint of longing. His bars drip with emotion, as if he’s unloading something that’s been weighing him down. Bresh brings in a more introspective tone, with a voice that sounds like it just stepped out of a late-night stroll through the city. Tony Effe closes the track with his signature bravado and a touch of chaos, like he's ready to blow the party off the rails — in the best way possible. The lyrics of “Non Basta Mai” revolve around that insatiable hunger for more: more love, more success, more life. The chorus — “Ce l’ho messa tutta, ma non basta mai” — lingers like the echo of a generation that gives everything yet still feels it’s never enough. It’s relatable, painfully honest, and somehow still hopeful. The fact that the track enters the Euro 200 at #190 this week feels like the start of something bigger. “Non Basta Mai” isn’t a fleeting hit — it’s an anthem for sultry nights, open windows, and endless drives to nowhere. A song you don’t just listen to, but feel. And trust me, once is never enough. Because just like the title says: it’s never enough. And that’s exactly why you hit repeat.
	“Coração” by Haaland936 and Amo is a fiery cocktail of summer, desire, and swagger. Debuting this week at #191 in the Euro 200, the track feels like a sultry night in Lisbon: mysterious, rhythmic, and just a little dangerous. From the very first notes, you're pulled into a world of scooters, designer tension, and passionate encounters. Haaland936 kicks things off with a melodic flow that dances between romance and street poetry. His voice glides over the beat like a warm breeze, evoking visions of sun-drenched beaches and nocturnal escapes. Amo balances the energy with a sharper tone — almost cynical — as if love has let him down too many times. Together, they strike a dynamic that's both steamy and confrontational. The production is tight and hypnotic, driven by a beat that moves you before you even realize it. The hook — “Coração, uh-ah” — lodges itself in your head and refuses to let go. It's a chorus that transports you to a place where love and lust blur into each other, but where trust always teeters on the edge. What makes “Coração” so powerful is its balance between emotion and attitude. It’s not a love song in the traditional sense, but more of an ode to the heart that keeps beating, even after it’s been bruised. It’s a track you don’t just hear — you feel it in your chest. With this release, Haaland936 and Amo show they’re ready to dominate the summer. “Coração” isn’t background music — it’s a soundtrack for heated nights, smoldering glances, and stories better left untold.
	“1DAY IN LA” by francis, bambi, and Oki is a sizzling ode to nights that are too short and memories that burn too brightly to fade. New at #195 in the Euro 200, the track feels like a snapshot of a wild dream in the City of Angels — full of neon lights, lingering glances, and a touch of melancholy. francis delivers a tight, atmospheric production with a beat that carries you from a low-ceilinged club to a studio brimming with creative chaos. bambi opens with a sultry, almost hypnotic flow that balances seduction with distance. Her voice glides across the beat like a shot of Don Julio in a crystal glass: sharp, but irresistible. Oki follows with a playful, confident part, flirting with the line between fantasy and reality. His lines drip with irony and desire, as if he knows the night is fleeting — but still gives it everything. The lyrics in “1DAY IN LA” are a collage of vivid images: street dancing, buzzing DMs, Murakami jackets, and private pools. The hook — “Niski sufit, double cap i Don Julio w kieliszkach” — sticks like a mantra for anyone who’s ever fallen in love with a moment too perfect to last. What makes this track stand out is the chemistry between the artists. They don’t just complement each other — they amplify one another’s energy. “1DAY IN LA” isn’t your typical banger, but a moody trip full of contrast: light and dark, love and letting go, dreams and the morning after. A song you don’t just hear, but experience — preferably with the windows down and the volume cranked to L.A. levels. Because some days — and some tracks — are simply too good to live just once. This is one of them. And it definitely leaves you wanting more. Much more.
	“De Bi De Bi” by Drevo is a fiery burst of Ukrainian rock that doesn't just hit your ears — it reverberates down your spine. New at #198 in the Euro 200, this track marks the rise of a band from Ukraine that crashes into the European music scene with unrelenting intensity. Drevo has made a name for itself as one of the few modern rock acts from the region that clings fiercely to a raw, world-class sound — no frills, no gimmicks, just guitar, voice, and pure fire. From the very first second, “De Bi De Bi” grabs you by the collar. The guitar riffs are sharp as glass shards, the drums thunder with primal force, and the voice of frontman Maksym Derevyanchuk cuts straight through it all. This isn’t just a song — it’s a cry: for love, for freedom, for something just out of reach. The lyrics are poetic and drenched in symbolism: solstices, stars, burning desire, and a heart that’s given away over and over again. The line “Vona lehen'ko vziala moe serden'ko” — “She gently took my heart” — feels like a whisper in the storm. It’s tender and wild at the same time — a rare tension that Drevo captures effortlessly. What makes this track stand out is how it fuses traditional Ukrainian undertones with the punch of modern rock. It feels like a bridge between generations, between past and future. “De Bi De Bi” isn’t some fleeting debut — it’s a declaration. A clear message that Drevo has arrived — and they’re here to stay. If this is their first step onto the Euro 200 stage, then the journey ahead promises nothing less than unforgettable. Buckle up. Drevo’s coming. And they mean every beat.
	Look at last week's reviews here
	"The Hitmaster: mastering the rhythm of chart-topping hits."