Back to frontpage
	Current EURO200
	New entries in the EURO200                                       Review for week 30 - 2025
	"Jump" by BLACKPINK didn’t just arrive at #9 in the Euro 200 this week—it burst through the gates like it owned the place. From the very first downbeat, the song feels explosive, as if every second is fueled by jet propulsion. The production is immaculate, weaving sharp synth stabs with bass that punches like a heartbeat mid-sprint. It’s fast, it’s fierce, and it’s unmistakably BLACKPINK. There’s a forward momentum to “Jump” that mirrors its title—this track doesn’t walk or run; it leaps unapologetically into your head and sets up camp. Rosé opens with a yearning that slices through the mix like wind over velvet, followed by Jennie’s spitfire cadence that somehow manages to be both playful and venomous. Lisa, as always, serves a rap section that thunders with charisma, and Jisoo offers a surprising edge that’s more daring than her usual softness. Together, they’ve sharpened the formula without losing the soul. The chorus is like an anthem for moving past limitations. And it’s not just about physical motion—“Jump” is emotional elevation, personal defiance, artistic freedom. There’s also a subtle brilliance in the layering: the vocal overlays in the final minute, especially with the ad-libs crashing over the beat, feel like the last act of a fireworks show—one final push before silence. It’s dizzying in the best way. For a debut this high—Euro 200 entry #9—it signals more than popularity. It’s a benchmark. This isn’t a comeback, it’s a declaration. BLACKPINK has danced between pop, rap, and EDM before, but “Jump” gives the genre blender a turbo boost. It’s the sound of a group who knows their place and refuses to stay in it. And let’s be real: when a track makes you want to run through walls and high-five strangers, it’s doing something right.
	"Daisies" marks Justin Bieber’s return to the Euro 200 at position #17, and while the title evokes softness, the song itself is anything but passive. There’s a pulsating drive underneath its surface—electronic textures that shimmer like sunlight through leaves, paired with rhythm patterns that feel slightly off-kilter in a way that pulls you in rather than distracts. It’s a track that demands re-listening, not because it’s hard to grasp but because it keeps revealing more. Bieber’s vocals slide into the mix with a kind of calculated looseness. He’s not pushing for high drama, yet there’s this ache that lurks beneath certain phrases. You catch it when he throws away a line too quickly, or lets the syllables stretch longer than they should. Lyrically, it’s layered with metaphors—not all perfectly polished, but raw in a way that suits the mood. “Daisies” isn’t about flowers; it’s about fragility hiding in plain sight. The production is modern but not maximalist. There’s restraint here—beats don’t crowd the mix, and the instrumental drops out unexpectedly at moments to let Justin’s voice carry the emotional weight. That confidence in simplicity is one of the song’s greatest strengths. Midway through, a swelling synth pad lifts the melody just when it risks becoming repetitive, and it’s in that moment the song blooms a little wider. Arriving at #17 on the Euro 200, "Daisies" doesn’t scream onto the chart—it breathes its way in. But don’t mistake that for lack of impact. It’s the kind of track that thrives over time, not in a flash. Justin doesn’t chase trends here. He folds elements of alt-pop, electronica, and R&B into something uniquely his, proving that he can evolve without turning his back on past iterations. "Daisies" is proof that subtlety, when done right, carries power.
	Imagine pulling open a neon-lit fridge in the middle of a pop art gallery—that’s what it feels like listening to “Soda Pop” by SAJA BOYS, freshly fizzed into the Euro 200 at position #53 this week. The track bubbles with confidence from the opening second, blending nostalgic bubblegum pop aesthetics with a sharp splash of modern swagger. It’s like the band brewed a sonic soda from scratch, stirred in synth-pop hooks, carbonated the beats, and twisted the cap just loud enough for it to pop on cue. What makes “Soda Pop” immediately stand out is its playful unpredictability. There’s no attempt to follow the expected pop song roadmap. Instead, it zigzags through whimsical verses, punchy choruses, and a bridge that practically winks at the listener. The vocals feel tactile, like they're being passed from one friend to another in a sunny backyard jam session. The lead vocal rolls in with flirtatious ease, and backing vocals mirror the effervescence of a freshly poured drink. Lyrically, there’s candy-colored cleverness. While the words might seem lighthearted on the surface—name-dropping sodas, dancing in aisles, and vibing like it’s 1999—there’s subtext in the saccharine. Is it poking fun at our obsession with nostalgia? Is it an ode to innocence in a complicated world? Either way, it works. And the production doesn’t try to overshadow the charm. It’s crisp, bouncy, and full of quirky instrumental textures that tickle the ear without overstaying their welcome. Charting at #53 in the Euro 200 might seem modest, but it’s the kind of entry that feels like the start of a climb. SAJA BOYS aren't making noise—they're making a statement in technicolor. “Soda Pop” doesn’t aim to reinvent pop, but it twists it into something you’d happily sip on all summer long. Refreshing, ridiculous, and ridiculously refreshing.
	"Smak-Pechal’" by DOROFEEVA & POSITIFF enters the Euro 200 this week at position #126, and it arrives not with a bang but with a beautifully aching sigh. The collaboration comes from two influential Ukrainian musicians. Nadia Dorofeeva, 35 years old, began her career in pop duo Vremya i Steklo and has since carved out her solo path with sleek, emotional pop. POSITIFF, born Oleksiy Zavgorodniy and now 39, is known for his work both as a producer and singer—often blurring the lines between rap, dance and moody pop. Together, they create a chemistry that doesn't shout for attention—it breathes. The track moves like memory through dusk. It's gentle, minimalistic, but never dull. Synths float like fog over gentle bass pulses, and there's a tactile quality to the vocal layering that feels almost cinematic. Dorofeeva’s delivery is deliberate, like she's unpacking each phrase from a tightly sealed box. POSITIFF enters like a ghost from a shared past, his voice trailing behind hers with quiet gravity. They don’t sing to each other—they orbit. Lyrically, "Smak-Pechal’", which loosely translates to “The Taste of Sadness”, taps into something bittersweet. The song drips in nostalgia—missed moments, emotional residue, love that lingered just a bit too long. There’s no dramatic swell or cathartic climax. Instead, the tension lies in what’s left unsaid, in glances that didn’t land and calls that weren’t returned. It's a mood piece: restrained, bruised, elegant. With this debut at #126 in the Euro 200, the song stakes its claim not in numbers but in nuance. It’s not trying to conquer—it’s trying to connect. In an era of glossy overstimulation, "Smak-Pechal’" finds power in subtlety. These aren’t pop stars putting on a show—they’re storytellers handing you a Polaroid from a rainy afternoon. And you feel it, because somewhere in the fog of your own memories, you've tasted that sadness too.
	Imagine opening a drawer in a dusty attic and finding a mixtape labeled “Summer, somewhere”—that’s what “Tak To Lata” feels like. At position #132 in this week’s Euro 200, it’s the kind of track that glows from within rather than flashing neon. Polish producer BUNGEE, just 23, invites you into his sonic sketchbook, and standing beside him is Tuszol, 25, an emerging rapper from Warsaw who sounds like he’s lived every lyric twice. Together, they toss genre into the blender and pour out a taste that’s half melancholy, half radiant. From the first note, “Tak To Lata” (which translates loosely as “That’s How Summer Goes”) carries hints of nostalgia through thick acoustic textures and a beat that pulses like distant fireworks. The percussion isn’t insistent—it’s flirtatious, dancing lightly around a melody built on warm synth chords and dusty piano loops. Tuszol’s delivery is melodic, almost murmured, but there’s clarity in his tone, like he’s letting you into a private thought. BUNGEE, behind the board, paints the track with clever flourishes—subtle reversed samples, atmospheric swells, and ghostly vocal echoes that come and go like memories. The lyrics meander through scenes of youth: stolen bikes, raincoats in June, the sweetness of boredom. But there’s a twist—it’s not just about the past; it’s about watching those moments dissolve in real time. There’s no climax, no drop, no big emotional spill. Instead, the song rides a wave of quiet reflection, perfectly capturing the bittersweet nature of fleeting summer nights and friendships that don’t return in September. Its entry at #132 might not shake the chart just yet, but "Tak To Lata" is the kind of debut that builds roots. It doesn’t scream for attention—it pulls you close with a whisper. BUNGEE & Tuszol are two young artists with old souls, and this track feels like their open letter to transience.
	Let’s start with the smell of velvet and the sting of ice—because that’s the sensation "Reflet" leaves behind. French pop veteran Matt Pokora, age 40, steps into the Euro 200 this week at position #148 with a single that’s more than music: it’s a moment in motion. The title translates to “Reflection,” and the song feels exactly like that—a gaze backward that doesn’t wallow, but questions. Pokora, who’s been bending pop and R&B into his own groove since his debut in the early 2000s, seems to revisit both himself and the genre through a smoky, synth-led lens. “Reflet” begins quietly, like the first few seconds after closing a door on something important. There’s atmosphere in every note: reverb-stretched guitar plucks, layered pads that bloom like fog across city lights, and a drumbeat that mimics footsteps more than percussion. Pokora’s voice lands softly, precise yet emotional, as if he’s narrating a memory while trying not to disturb it. It’s in the restraint that the power builds. The pre-chorus lifts just enough to tease catharsis, then folds back into the verse with a kind of romantic reluctance. The lyrics? Poetic, but not overwrought. He sings about versions of self, fractured dreams, people who saw parts of him but never the whole. There’s vulnerability here, with lines that lean into existential musings without drifting too far from the everyday. It’s not about heartbreak—it’s about identity in pieces. Each chorus rises like a tide and retreats, never giving full closure. That decision, musically, feels pointed. At #148 in the Euro 200, “Reflet” isn’t storming through the gates—it’s lingering at the edge. But this isn’t a song built to win. It’s built to mean something to those who hear it at the right hour, in the right state of mind. Matt Pokora may be reflecting—but what he sees in the mirror is still evolving.
	Picture a curtain swaying over a rainy window while someone's humming just out of frame—this is the kind of scene "Tu Vas Sin" by RELS B conjures. Sneaking into the Euro 200 at position #151, the track feels like a private message turned public. At just 31 years old, RELS B (born Daniel Heredia Vidal), hails from Palma de Mallorca, Spain, and has spent the last decade crafting a sound that tiptoes between lo-fi hip hop, soft R&B, and slow-burn pop. He’s not trying to follow the path—he’s been busy paving one in lowercase letters and emotional side notes. "Tu Vas Sin" doesn’t burst open with urgency. It unrolls—a mellow beat, a soft piano loop, and reverb-heavy percussion that feels like it’s echoing off bedroom walls. RELS B’s delivery is laidback to the point of disarming; there’s no bravado, no hunger for spotlight, just the kind of voice that’s been sitting with its own thoughts for a while and finally decided to say something. When he hits the hook, there’s a breathiness, almost fragile. He’s letting you in, but not all the way. The lyrics, a mix of Spanish vulnerability and poetic resignation, sketch out a relationship in its rearview mirror. Lines blend romantic regret with personal detachment, never tipping fully into heartbreak but gliding on its edge. It’s that familiar ache—someone you still think about, but won’t chase. And the production never intrudes. Every element feels curated: subtle synth wisps, a bassline that hums like a question, and gentle vocal harmonies that drift in and out like memories. Euro 200 entry #151 might not shout “chart success,” but "Tu Vas Sin" isn’t built for noise. It’s built for reflection. In a landscape full of maximalist pop and digital heat, RELS B hands us cool tones and analog emotion. The result? Something you don’t dance to—but something you remember long after it fades.
	It starts like a flex in slow motion. "Baddest in Germany" by Jazeek, debuting at #178 in this week’s Euro 200, doesn’t arrive quietly — it glides in with designer sneakers and tinted shades, making sure you notice the confidence before you even catch the chorus. At just 24 years old, Jazeek — born in Herne, Germany — has been steadily rising in the Deutschrap scene with a sound that leans into melodic trap and smooth vocal phrasing. This latest track plays like a victory lap wrapped in velvet arrogance. The beat is slick and narcotic, built around shimmering piano loops and a bassline that stalks rather than bounces. There’s restraint in the mix, but it's deliberate. Nothing feels overproduced; everything breathes just enough. Jazeek’s vocal tone is unbothered, almost lazy in its delivery — which makes the punchlines sting harder. He doesn't force attitude; he implies it. It's the kind of performance that feels like someone who's already won, just casually letting you know. Lyrically, "Baddest in Germany" toys with bravado, but with a wink. It’s not textbook braggadocio — it’s self-assurance shaped by aesthetic, coded language, and cultural nods. There’s mention of fame, drip, city swagger, and late-night rides through Berlin, but it’s stitched together in a way that feels cinematic rather than cliché. The title itself is intentionally provocative — not a boast, but a brand statement. Whether he’s “the baddest” or just naming the persona, it lands with impact. As a debut at #178, the chart position may be modest, but the mood is massive. This is the kind of entry that builds cult momentum — the sleeper track everyone’s quoting before it cracks the top 50. Jazeek isn’t pushing for applause; he’s building a myth. "Baddest in Germany" is both a timestamp and a foreshadowing — the sound of a young artist crossing the threshold with swagger intact and gaze locked forward.
	The lights flicker. Not from a faulty bulb, but from a surge of energy — the kind that rushes through concrete when someone like Niska hits play. Entering the Euro 200 at #197 with “Adriano,” the 30-year-old French rapper (real name Stanislas Dinga Pinto) doesn’t ask for room; he takes up space. Born in Évry, just outside of Paris, Niska has long been the voice of sharp, unapologetic swagger in Francophone rap. With “Adriano,” he’s not just dropping verses — he’s launching an attitude. From the first second, the track exudes tension. Bass-heavy, percussive, and wrapped in eerie synth textures, it feels like the soundtrack to a thriller set in the Paris suburbs. There’s no time wasted on introductions. Niska steps into the beat with a flow that snaps and snarls, full of syncopated stops and breathless flurries. It's not just rhyming — it’s sparring. And the reference to Brazilian football legend Adriano? More than symbolic. It’s a metaphor for power, unpredictability, and rising from chaos with brute elegance. The hook lands hard. Minimalist in melody but maximalist in impact. There’s repetition, sure, but it’s hypnotic — the kind that drills into your skull with purpose. Lyrically, it’s a blend of street commentary, coded flexes, and cultural nods wrapped in Parisian grit. There's a self-awareness to the track that undercuts the bravado: Niska knows he's both idol and target. He plays with that tension, turning it into fuel. At #197 in the Euro 200, “Adriano” might seem late to the party — but it feels like the afterparty everyone ends up at. It doesn’t chase chart glory; it bends the chart to its mood. Niska’s ability to fuse menace with magnetism remains unmatched, and this track is proof that thunder doesn’t always arrive at the top. Sometimes, it creeps in low — then shakes the foundations.
	Look at last week's reviews here
	"The Hitmaster: mastering the rhythm of chart-topping hits."