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	Current EURO200
	New entries in the EURO200                                       Review for week 34 - 2025
	“Takedown” marks a bold moment for TWICE, the globally beloved K-pop girl group formed by JYP Entertainment. Known for their bright, catchy pop and synchronized choreography, TWICE has spent the last decade building a massive international fanbase. But with “Takedown,” they step into darker, more cinematic territory. The track is part of the soundtrack for K-Pop Demon Hunters, a Netflix animated film, and was performed by Jeongyeon, Jihyo, and Chaeyoung — three of TWICE’s most vocally versatile members. It’s not just a song; it’s a character-driven anthem that channels the film’s themes of vengeance, identity, and inner strength. Musically, “Takedown” leans into trap-pop with a moody edge. The beat is heavy, the synths are layered and atmospheric, and the vocal delivery is fierce. Jeongyeon opens with a controlled intensity, Jihyo brings emotional weight, and Chaeyoung adds a raw, almost rebellious energy. The lyrics reflect a struggle between light and darkness, echoing the film’s narrative arc. It’s not your typical TWICE single — there’s no bubblegum sweetness here. Instead, it’s a warrior’s anthem, full of grit and determination. The song debuted live at Lollapalooza 2025, where TWICE made history as the first K-pop girl group to headline the festival. Their performance of “Takedown” was a standout moment, complete with dramatic staging, drone visuals, and a roaring crowd of ONCEs (TWICE’s fandom) waving light sticks in unison. That live debut helped fuel the song’s momentum, leading to its chart entry this week. Landing at #116 in the EURO200, “Takedown” is more than just a soundtrack cut — it’s a statement. It shows TWICE evolving, taking risks, and embracing new artistic directions. Whether the track climbs higher will depend on how well it connects beyond the fandom, but one thing’s clear: TWICE isn’t just playing the pop game anymore. They’re rewriting the rules.
	Banfy is a relatively new name in the European pop scene, but he's been gaining traction with a sound that blends indie-pop with electronic textures. His style is melodic, slightly melancholic, and often built around catchy hooks that feel both intimate and radio-friendly. Sheridan, the featured artist, adds a soulful edge to the track. She's known for her warm vocal tone and has previously collaborated with underground producers in the UK and Germany, though this is her first appearance in the EURO200. "Bam Bam" is a playful title, but the song itself has a more laid-back, dreamy vibe. It opens with a soft synth line and a rhythmic beat that feels like a slow summer drive. Banfy's vocals are understated, almost whispered, while Sheridan brings in a richer, more emotional layer during the chorus. The lyrics seem to touch on fleeting romance — the kind that burns bright and fades fast — but they’re delivered with a sense of nostalgia rather than heartbreak. What makes this track stand out is its subtlety. It doesn’t try to be a club banger or a dramatic ballad. Instead, it sits comfortably in the middle, offering a vibe that’s easy to get lost in. That might explain why it’s landed at #124 this week — not explosive, but quietly compelling. It’s the kind of song that could climb steadily if it gets picked up on playlists or finds a moment on social media. For both Banfy and Sheridan, this chart entry is a milestone. It’s their first time in the EURO200, and "Bam Bam" shows they have the potential to connect with a wider audience. Whether it holds or rises will depend on how listeners respond in the coming days, but it’s a promising debut nonetheless.
	Kidd Voodoo is a rising name in the Spanish urban scene, known for blending trap, reggaeton, and melodic rap. His style is raw but polished, often touching on themes of nightlife, heartbreak, and street culture. JC Reyes, on the other hand, has been building a solid reputation in Spain and Latin America with his emotionally charged delivery and gritty lyrics. He’s no stranger to viral success, and his collaborations tend to amplify his reach across different audiences. “Me Mareo” translates to “I get dizzy,” and the track lives up to its title with a hypnotic beat and swirling synths that create a sense of disorientation — in a good way. The production is minimal but effective, with a pulsing rhythm that gives both artists room to shine. Kidd Voodoo opens with a laid-back flow, almost conversational, while JC Reyes brings intensity in the second verse, adding contrast and depth. Their voices complement each other well, and the chemistry feels natural, not forced. Lyrically, the song explores the emotional aftermath of a toxic relationship. There’s a sense of confusion and vulnerability, but also defiance. Lines like “no sé si me quieres o solo me usas” (“I don’t know if you love me or just use me”) hit hard, especially when paired with the moody instrumental. It’s not a party anthem — it’s more of a late-night reflection, the kind of track you play when you’re driving alone and thinking too much. Landing at #148 in the EURO200, “Me Mareo” is a modest debut, but it has the potential to climb. Both artists have strong fanbases, and the song’s emotional pull could resonate widely if it catches on through TikTok or playlist placements. It’s a solid entry that showcases the evolving sound of Spanish urban music, and it’s likely we’ll see more from this duo in the near future.
	Sefo is one of Turkey’s most prominent voices in the new wave of pop-rap. He’s known for blending melodic hooks with trap beats, often delivering lyrics that balance swagger with vulnerability. His rise has been swift, fueled by viral hits and a strong presence on social media. Demet Akalin, on the other hand, is a veteran of Turkish pop. She’s been a household name for over two decades, with a career full of chart-toppers and a reputation for bold performances and outspoken interviews. The pairing of Sefo and Demet Akalin is unexpected but intriguing — a fusion of youthful energy and seasoned star power. “Yerinde Dur,” which roughly translates to “Stay in Your Place,” is a high-energy track that leans into reggaeton-inspired rhythms while keeping a distinctly Turkish flavor. The beat is infectious, built around a syncopated groove that invites movement. Sefo’s verses are slick and confident, delivered with a rhythmic flow that feels effortless. Demet Akalin enters with a commanding vocal presence, her voice cutting through the mix with clarity and attitude. The contrast between their styles works surprisingly well, creating a dynamic tension that keeps the song engaging from start to finish. Lyrically, the song plays with themes of independence and confrontation. It’s not a love song — it’s more of a declaration. Both artists seem to be pushing back against expectations, asserting their own identities and refusing to be boxed in. There’s a playful edge to the lyrics, but also a sense of defiance. It’s the kind of track that feels tailor-made for summer festivals and late-night club sets. Landing at #153 in the EURO200, “Yerinde Dur” is a strong debut. It’s catchy, bold, and culturally rich — a reminder that Turkish pop continues to evolve and surprise. If the momentum holds, this could be the start of a broader European breakthrough for Sefo and a fresh chapter for Demet Akalin.
	“Miü Miü” is one of those tracks that doesn’t scream for attention — it drifts in like fog and stays with you long after it ends. Miü, the lead artist, is a mysterious figure in the alt-pop scene, known for her ethereal vocals and minimalist aesthetic. She’s not chasing mainstream fame, but rather crafting sonic experiences that feel personal and immersive. Koder and 6ynthmane, her collaborators on this track, are both producers with a flair for atmospheric layering and subtle rhythmic shifts. Together, they’ve created a song that feels like a dream half-remembered. The track opens with a soft, pulsing beat and ambient textures that evoke a sense of floating. Miü’s voice enters like a breeze — delicate, breathy, and emotionally restrained. She doesn’t belt or dramatize; instead, she lets the melody carry the emotion. The lyrics are sparse and cryptic, hinting at themes of identity, detachment, and longing. It’s not about telling a story — it’s about evoking a mood. Koder’s production adds depth without overwhelming the vocals, while 6ynthmane introduces subtle glitches and synth flourishes that keep the soundscape evolving. At position #173 in the EURO200, “Miü Miü” is a quiet triumph. It’s not a radio hit, and it probably won’t dominate club playlists. But it speaks to a growing appetite for introspective, genre-blurring music that prioritizes feeling over formula. The song’s strength lies in its restraint — it doesn’t try to impress, it simply exists. And in a chart filled with bombastic hooks and high-energy drops, that kind of quiet confidence stands out. This debut could be the beginning of something bigger for Miü and her collaborators. If the track finds its way into curated playlists or gains traction on mood-driven platforms like Spotify’s “Chill Vibes” or “Night Drive,” it could slowly climb. But even if it doesn’t, “Miü Miü” has already made its mark — a soft, haunting echo in the noise.
	“Ocean” is a heavyweight collaboration between two of Germany’s most influential urban artists. RAF Camora has long been a pioneer in the German-speaking rap scene, known for his sleek production style and genre-blending approach that fuses dancehall, trap, and pop. His albums like Anthrazit and Zenit have shaped the sound of modern German hip-hop. UFO361, meanwhile, brings a more experimental, emotional edge. He’s known for his auto-tuned vocals, moody aesthetics, and a cult-like following that spans beyond Germany into Austria and Switzerland. “Ocean” feels like a natural evolution for both artists. The track is atmospheric and brooding, built around a deep bassline and shimmering synths that evoke the vastness and isolation of the sea. RAF opens with a smooth, almost meditative flow, setting the tone with introspective lyrics about distance, fame, and emotional detachment. UFO361 follows with a more vulnerable verse, his voice drenched in reverb, adding a sense of melancholy that contrasts beautifully with RAF’s stoicism. The chorus is minimal but effective — a repeated phrase that acts more like a mantra than a hook. It’s not designed for radio; it’s designed for mood. The production is cinematic, with subtle details like echoing water sounds and layered harmonies that give the track depth. It’s the kind of song you play late at night, when the world feels quiet and your thoughts get loud. Debuting at #177, “Ocean” enters the EURO200 modestly, but don’t be fooled — both artists have the fanbase and streaming power to push it higher. If the track gets picked up on curated playlists or gains traction on TikTok, it could easily climb into the top 100. More importantly, it’s a reminder that German rap continues to evolve, embracing emotion and atmosphere in ways that feel fresh and globally relevant. “Ocean” isn’t just a song — it’s a mood, and it’s one worth diving into.
	Imagine standing alone in the middle of a field at dusk. The sky above you is burning — not with fire, but with memory. That’s the feeling “Pali Się Niebo” conjures. Dawid Kwiatkowski doesn’t just sing; he bleeds emotion into every line. The title, which translates to “The Sky Is Burning,” sets the tone for a track that’s both cinematic and deeply personal. It’s not a breakup song. It’s a reckoning. The production is sparse but haunting. Synths drift like smoke, percussion pulses like a heartbeat on the edge of panic, and Dawid’s voice — trembling, raw — cuts through the haze. He’s not trying to impress with vocal acrobatics. He’s trying to survive the moment. The lyrics speak of absence, of longing, of the kind of silence that screams. “Who will hold my hand in this uncertain night?” he asks, and you feel the weight of that question in your chest. This isn’t just another pop ballad. It’s a poem set to music. The metaphors — burning skies, dancing shadows, breathless nights — aren’t just pretty images. They’re emotional landmarks. You don’t listen to “Pali Się Niebo.” You wander through it. Landing at #178 in the EURO200, it’s a quiet debut, but don’t mistake that for weakness. This track doesn’t need fireworks to make an impact. It’s the kind of song that finds its way into people’s lives slowly, through late-night playlists and solitary walks. Dawid Kwiatkowski has delivered something fragile and fierce — a reminder that sometimes, the most powerful songs are the ones that whisper instead of shout.
	There’s something hauntingly beautiful about “Dopóki Się Nie Znüdzisz.” From the very first note, it feels like stepping into a quiet, frost-covered forest — still, delicate, and full of unspoken emotion. Miü, who made an impression earlier this week with “Miü Miü,” returns here as producer and co-creator, teaming up with Zalia, a Polish singer-songwriter known for her introspective lyrics and ethereal voice. Together, they craft a soundscape that’s both intimate and cinematic. The title translates roughly to “Until You Get Bored,” and that phrase alone sets the emotional tone. It’s a meditation on the fragility of connection, the fear of fading interest, and the quiet ache of hoping someone will stay. Miü’s production is minimal yet richly textured — soft piano chords, ambient pads, and subtle percussion that never intrudes. Zalia’s vocals float above it all, vulnerable and restrained. She doesn’t plead; she wonders. Her delivery feels like a letter never sent, filled with questions that may never find answers. Lyrically, the song is poetic without being obscure. Lines like “dopóki się nie znüdzisz mną” (“until you get bored of me”) repeat like a mantra, each time gaining emotional weight. There’s no dramatic climax, no explosive chorus — just a slow, steady unraveling of feeling. It’s the kind of track that demands silence around it, best heard alone, with headphones on and the lights off. Landing at #184 in the EURO200, “Dopóki Się Nie Znüdzisz” is a quiet entry, but one that lingers. It’s not built for mass appeal — it’s built for listeners who crave depth, subtlety, and emotional resonance. Miü and Zalia have created something fragile and fearless, a song that doesn’t beg to be heard but deserves to be felt. If there’s any justice in the charts, this one will rise — slowly, steadily, like breath on a cold window.
	You press play, and it hits you like perfume in a crowded room — sharp, sweet, impossible to ignore. “Zou Bisou” isn’t just a track, it’s a flex. Theodora walks in like she owns the place, voice dripping with velvet and venom. She’s not asking for attention — she’s commanding it. Jul follows, not to match her energy, but to twist it. His verse is a street diary, rough-edged and unapologetic. Together, they don’t blend — they collide. The beat? It’s got that Paris-at-midnight swagger. Synths that sparkle like champagne bubbles, bass that thumps like stilettos on marble. You can hear Boumidjal and Holomobb’s fingerprints all over it — slick, stylish, but never sterile. It’s luxury with bite. Lyrically, it’s a power play. Theodora’s talking careers, cash, and control. “J’vais lancer des carrières comme des Billie Jean” — she’s not just in the game, she’s rewriting the rules. Jul counters with grit: “La rue m’a tué vu mon état” — no filters, no apologies. It’s beauty and bruises, glam and grime, all in one breath. Position #185 in the EURO200? That’s just the entry point. This track isn’t built for quiet climbs — it’s built to explode. You can feel it in the chorus, in the way Theodora spits syllables like bullets, in the way Jul turns pain into poetry. It’s not a duet. It’s a duel. “Zou Bisou” is the kind of song that doesn’t ask if you like it. It dares you not to. And if you blink, you’ll miss it — but if you listen, really listen, you’ll know: this isn’t just a chart entry. It’s a warning shot.
	Max Korzh isn’t just a singer — he’s a movement. Born in Belarus, he’s spent the last decade building a fiercely loyal fanbase across Eastern Europe, known for packing stadiums and delivering emotionally charged performances that feel more like mass gatherings than concerts. His music blends rap, pop, and rock with a distinctly Slavic soul — gritty, poetic, and deeply personal. Korzh doesn’t chase trends; he builds worlds. And “Wake Up,” his first release of 2025, is no exception. The track opens with a slow burn. A muted guitar riff, a heartbeat-like kick, and then Korzh’s unmistakable voice — low, steady, and full of quiet urgency. “Wake Up” isn’t about alarms or caffeine. It’s a call to consciousness. The lyrics speak to those who feel stuck, lost, or numbed by routine. “Просыпаемся сегодня под него,” wrote one Belarusian outlet — “we wake up to it today”. It’s not just a song; it’s a rallying cry. Produced by Insando, who also worked on Korzh’s last album Психи попадают в топ (“Psychos Hit the Top”), the sound is layered but never cluttered. Synths shimmer in the background, drums build gradually, and the chorus hits like a sunrise — warm, blinding, and full of promise. There’s no flashy drop, no overproduced hook. Just a steady climb toward clarity. At #190 in the EURO200, “Wake Up” enters quietly, but don’t mistake that for weakness. Korzh’s fans are known for turning whispers into roars. His upcoming stadium show in Warsaw — sold out months in advance — is proof that his reach goes far beyond the charts. “Wake Up” may be his first release this year, but it feels like the beginning of something bigger. A new chapter. A new fire. And if you’re listening closely, you’ll feel it too.
	Here’s the final review for this week — for “Îmi Place Când” by Lazy Ed x Mario, which enters the EURO200 at position #192. It’s the kind of song that doesn’t wait for permission. “Îmi Place Când” bursts in with a beat that’s already halfway through the party, pulling you into its rhythm before you’ve even had time to blink. Lazy Ed, a Romanian artist with roots in Italy, has been carving out his own lane in the R&B and hip-hop scene. He’s not just a vocalist — he’s a vibe architect. His journey started with freestyle videos and evolved into collaborations with names like Alex Velea and the Golden Gang collective, shaping a sound that’s both emotionally raw and sonically slick. Mario, better known as Mario Fresh, brings pop polish and vocal warmth to the track. He’s a familiar face in Romania’s mainstream, with a string of hits and a reputation for blending romantic themes with danceable production. Together, they’ve created a track that feels like summer bottled up — fizzy, flirty, and impossible to ignore. “Îmi Place Când” translates to “I Like It When,” and the lyrics play with that idea — celebrating moments of connection, spontaneity, and flirtation. It’s not deep, and it doesn’t try to be. That’s the charm. The chorus is pure earworm, the kind of hook that loops in your head long after the music stops. The instrumental, produced by Vlad Măzărel and Paul Iorga, is crisp and bouncy, with just enough groove to keep the dancefloor moving without overwhelming the vocals. The track is also part of the soundtrack for Situationship: Combinații NU Relații, a Romanian comedy film about modern dating chaos. That context adds another layer — this isn’t just a song, it’s a scene-setter. It’s already gone viral on TikTok, with over 50,000 clips before its official release. Landing at #192 in the EURO200, “Îmi Place Când” is a late entry with serious momentum. It’s not trying to be profound — it’s trying to be played. Loud. Often. And preferably with the windows down.
	Look at last week's reviews here
	"The Hitmaster: mastering the rhythm of chart-topping hits."