Back to frontpage
	Current EURO200
	New entries in the EURO200                                       Review for week 37 - 2025
	Sabrina Carpenter makes a striking appearance in this week’s Euro 200 with five new tracks debuting simultaneously. It’s a rare moment of creative expansion, and the fact that she’s releasing these songs all at once suggests a deliberate strategy—not a single lead single, but a cluster of tracks that together paint a picture of where she stands artistically. Her highest entry is “Tears” at number 19, a melancholic pop song that reveals her vulnerable side without tipping into melodrama. The production is minimal yet effective: a pulsing bassline, subtle synths, and a chorus that builds toward a cinematic climax. At number 79 is “My Man on Willpower,” a title that already hints at irony. The track is rhythmic and sharp, with lyrics that flirt with the tension between emotional restraint and impulsive love. Carpenter’s delivery is playful, almost teasing, as if she’s dissecting her own feelings with a wink. Musically, it leans on a blend of electronic pop and light funk, giving it a danceable edge without losing its narrative punch. “Sugar Talking,” at position 95, is perhaps the lightest of the five. It revolves around seduction and miscommunication, wrapped in a retro-pop aesthetic with clear 1980s influences. Carpenter’s voice floats above a synth-driven beat, and the lyrics toy with ambiguity—is what she’s saying sweet, or is it all just surface? The chorus is catchy but not shallow—there’s a subtle melancholy in how she sings about words that may mean nothing. At number 145 is “House Tour,” one of the most conceptually rich songs in the set. Here, Carpenter uses the image of a house as a metaphor for a relationship: each room represents a memory, a confrontation, an emotional layer. The lyrics are full of vivid imagery, and the production supports this with layered textures—from acoustic guitar to ambient sounds that echo like footsteps in an empty hallway. It’s a track that doesn’t reveal itself immediately but grows deeper with each listen. Finally, “When Did You Get Hot?” at number 189 sounds breezy and ironic at first, but on closer inspection it’s a sharp observation about how attraction can suddenly emerge. Carpenter sings with a mix of surprise and desire, and the production keeps things light and fresh, with a laid-back groove that matches the song’s tone. It’s a track that plays with timing—both musically and emotionally. What ties these five songs together is a clear artistic vision. Carpenter isn’t chasing a single sound or hit formula; she’s building a diverse musical universe. Each track has its own mood, its own narrative, and together they form a mini-portrait of an artist who’s found her voice and isn’t afraid to explore. Entering the Euro 200 five times in one week isn’t just a commercial achievement—it’s an artistic statement. Sabrina Carpenter isn’t passing through the European pop landscape; she’s staking her claim with flair and conviction.
	Olly & Juli debut this week in the Euro 200 at position 72 with their new track “Questa Domenica”. The duo is based in Italy and has been slowly building a name for themselves with a mix of nostalgic pop and modern indie sounds. Olly, born Federico Olivieri, is in his mid-twenties and has been active in the Italian music scene for several years. Juli, short for Giulio, is a newer face but brings a soft, melodic touch to their collaborations. Together, they’ve created a style that feels both intimate and cinematic. “Questa Domenica” translates to “This Sunday”, and the song captures the quiet beauty of a slow weekend spent with someone you care about. It’s not dramatic or loud—it’s gentle, reflective, and warm. The production is simple but effective: soft piano chords, a light beat, and vocals that feel close to the ear. There’s a sense of longing in the lyrics, but also comfort. It’s about small moments, like walking through the city or sharing coffee, and how those can mean more than big declarations. The song fits well in the lower part of the chart, but it has the potential to climb. It’s the kind of track that doesn’t hit you immediately but grows on you with each listen. In a chart often dominated by high-energy pop and global hits, “Questa Domenica” stands out because it’s quiet and sincere. It’s a reminder that not every song needs to shout to be heard. For Olly & Juli, this debut is a strong step forward, and if they continue in this direction, they could become one of Italy’s most promising pop duos.
	Irama and Elodie enter the Euro 200 this week at position 97 with their duet “Ex”. Both artists are well-known in Italy and have built strong solo careers before teaming up for this collaboration. Irama, born Filippo Maria Fanti in 1995, is known for his emotional delivery and genre-blending style that mixes pop, rap, and Latin influences. Elodie, born in 1990, has a powerful voice and a bold presence, often combining pop with R&B and electronic elements. Their musical paths have crossed before, but “Ex” feels like a more intimate and mature offering. The song “Ex” is about the complicated emotions that linger after a breakup. It doesn’t scream heartbreak—it whispers it. The lyrics explore the tension between wanting to move on and still being pulled back by memories. Both Irama and Elodie bring their own vocal strengths to the track: Irama’s verses are soft and reflective, while Elodie’s parts add intensity and edge. The contrast works beautifully, creating a dialogue that feels real and raw. Musically, “Ex” is built on a slow, moody beat with subtle guitar and ambient textures. It’s not flashy, but it’s rich in atmosphere. The production gives space for the vocals to breathe, and the chorus hits with quiet force. It’s the kind of song that doesn’t need to be loud to be powerful—it relies on emotion and nuance. This debut at #97 might seem modest, but it’s a strong start for a track that could grow steadily. It’s not a typical radio hit, but it has depth and replay value. For fans of Italian pop, “Ex” is a standout moment, and for Irama and Elodie, it’s proof that their voices together can create something more than the sum of its parts.
	Aymo, Aymen & Amo debut this week in the Euro 200 at position 101 with their track “CC&MO”. This trio is part of a growing wave of German-speaking artists blending rap, pop and experimental sounds. Aymo and Aymen have previously worked together on regional hits, while Amo is a newer name in the mix, adding a melodic layer to the group’s dynamic. They’re young, energetic, and clearly tuned into the pulse of Gen Z culture—both musically and visually. “CC&MO” is a fast-paced, punchy track that plays with rhythm and repetition. The title itself is cryptic, possibly referring to initials or a coded phrase, and the lyrics follow that same playful ambiguity. The song moves quickly, with short verses and a hook that hits hard. There’s a sense of urgency in the delivery, as if the trio is trying to say everything at once before the beat drops again. The production is minimal but sharp: a tight beat, some glitchy effects, and a bassline that drives the whole thing forward. Vocally, the three artists trade lines with ease. Aymo brings a raw edge, Aymen adds flow and precision, and Amo smooths it out with melodic touches. It’s not a song that tries to be emotional or deep—it’s more about energy, style, and attitude. That said, there’s a cleverness in how they structure the track, keeping it unpredictable and fresh. At #101, “CC&MO” sits just outside the top 100, but it has the kind of momentum that could push it higher. It’s the kind of song that spreads fast on social media and streaming platforms, especially among younger listeners. For Aymo, Aymen & Amo, this debut feels like a statement: they’re not here to follow trends—they’re here to set them.
	Jazeek debuts this week in the Euro 200 at position 128 with his track “Whine (Badalada)”. He’s a German artist with roots in Angola, and his music often blends Afrobeat rhythms with European urban pop. Born in 2001, Jazeek is part of a new generation of artists who move easily between cultures and genres, creating music that feels both global and personal. His rise has been steady, with previous singles gaining traction in Germany and beyond, but “Whine (Badalada)” marks his first entry into the broader European chart. The song is a vibrant, danceable track built around a catchy hook and a rhythmic beat that pulls from reggaeton and Afro-Caribbean influences. “Badalada” is Portuguese slang that loosely means “party vibe” or “buzz”, and the song lives up to that name. It’s not overly complex, but it’s infectious. The chorus is designed to stick, and the verses are delivered with a smooth, confident flow. Jazeek’s voice has a laid-back charm, and he knows how to ride the beat without overdoing it. Lyrically, “Whine (Badalada)” is about movement—both physical and emotional. It’s a celebration of nightlife, attraction, and letting go. There’s no deep message, but that’s not the point. The track is made for clubs, summer playlists, and social media clips. It’s the kind of song that spreads through vibe rather than storytelling. At #128, the song enters modestly, but it has the potential to climb if it catches on in Southern Europe or gets picked up by influencers. For Jazeek, this debut is a milestone. It shows that his sound resonates beyond Germany, and that his fusion of Afrobeat and pop has a place in the wider European scene. If he keeps this energy, he could be one of the breakout names of the year.
	Damiano David enters the Euro 200 this week at position 129 with his solo track “The First Time”. Known as the charismatic frontman of Måneskin, the Italian rock band that exploded onto the global stage after winning Eurovision in 2021, Damiano is now exploring his own voice outside the group. Born in 1999, he’s still only in his mid-twenties, but already carries the presence of a seasoned performer. His solo work leans more introspective than Måneskin’s glam-rock energy, and “The First Time” is a clear example of that shift. The song is a slow-burning ballad with a raw emotional core. It’s about memory, regret, and the strange power of beginnings—how the first time something happens can stay with you long after everything else fades. Damiano’s voice is central here: deep, textured, and full of restraint. He doesn’t push for drama, but lets the lyrics speak through subtle phrasing and quiet intensity. The production is sparse, built around acoustic guitar and ambient layers that create a sense of space and solitude. “The First Time” feels personal, almost confessional. There’s no flashy chorus or big instrumental drop. Instead, it relies on mood and storytelling. The lyrics hint at a lost relationship, but they’re open enough to be interpreted in different ways. It’s the kind of song that invites the listener to fill in the blanks with their own experience. At #129, the track enters the chart quietly, but with purpose. It’s not designed to dominate radio—it’s meant to linger. For Damiano David, this solo debut is more than just a side project. It’s a statement of artistic independence, and a reminder that behind the rock star persona is a songwriter with something real to say.
	ZZ & Timar debut this week in the Euro 200 at position 143 with their track “4H44”. Both artists are part of the French underground scene, known for blending introspective rap with ambient and electronic textures. ZZ has been active for a few years, releasing low-key but emotionally rich tracks that often explore themes of isolation, identity, and late-night reflection. Timar, slightly younger and newer to the scene, adds a smoother, more melodic layer to the collaboration. Together, they’ve created something that feels both raw and refined. “4H44” is a nighttime song in every sense. The title itself—four forty-four in the morning—sets the mood: quiet streets, restless thoughts, and a mind that won’t shut off. The production is minimal and atmospheric, built around a slow beat, soft synths, and distant vocal samples that echo like memories. ZZ’s verses are introspective and poetic, delivered in a half-whisper that feels intimate. Timar’s contribution brings warmth and contrast, with a chorus that floats above the beat like a sigh. Lyrically, the song touches on sleeplessness, regret, and the strange clarity that can come in the early hours. It’s not dramatic—it’s subtle, almost fragile. There’s no hook designed for radio, no flashy effects. Instead, “4H44” relies on mood and emotion, drawing the listener into its quiet world. It’s the kind of track that rewards headphones and solitude. At #143, the song enters the chart modestly, but its presence is meaningful. It’s not trying to compete with mainstream hits—it’s carving out its own space. For ZZ & Timar, this debut is a quiet triumph, and for listeners who appreciate depth over volume, “4H44” is a track worth sitting with.
	Jerry Heil debuts this week in the Euro 200 at position 163 with her track “Dodai Huchnosti (12 Points)”. She’s a Ukrainian singer-songwriter known for her clever lyrics, emotional delivery, and genre-bending style that mixes pop, folk, and electronic elements. Born Yana Shemayeva in 1995, Jerry Heil first gained attention through YouTube covers before breaking through with original songs that often explore identity, vulnerability, and social commentary. Her music is deeply rooted in Ukrainian culture, but she’s also reaching wider European audiences with her unique voice and perspective. “Dodai Huchnosti (12 Points)” is a bold and theatrical track that plays with the language and imagery of Eurovision. The title itself—“12 Points”—is a clear nod to the contest’s scoring system, and the song seems to reflect on the idea of national pride, performance, and the desire to be seen and heard. Musically, it’s dramatic and layered, with orchestral flourishes, electronic beats, and vocal shifts that move from soft whispers to powerful declarations. Jerry Heil’s voice is expressive and dynamic, carrying both irony and sincerity in equal measure. The lyrics are poetic and symbolic, referencing sound, silence, and the weight of expectation. There’s a sense of longing in the song, but also defiance. It’s not a typical pop track—it’s more like a performance piece, designed to provoke thought and emotion. The production is rich and cinematic, with moments that feel almost operatic. At #163, the song enters the chart quietly, but it stands out for its originality. It’s not trying to fit into mainstream trends—it’s carving its own path. For Jerry Heil, this debut is another step in her journey as one of Ukraine’s most distinctive musical voices. “Dodai Huchnosti (12 Points)” is complex, bold, and unapologetically artistic.
	Doja Cat lands at position 190 in the Euro 200 this week with “Jealous Type”, and it’s not so much a song as it is a smirk set to music. Born Amala Ratna Zandile Dlamini in Los Angeles in 1995, Doja Cat has built her career on unpredictability—one moment she’s rapping with razor-sharp precision, the next she’s crooning over dreamy synths. With “Jealous Type”, she leans into her playful, provocative side, but there’s a sting beneath the surface. The track opens like a confession, but quickly turns into a performance. Doja isn’t just admitting jealousy—she’s weaponizing it. The beat is slick and minimal, with a pulsing rhythm that feels like it’s pacing the room. Her vocals slide between spoken word and melody, never settling, always shifting. It’s not chaotic—it’s calculated. She knows exactly how much to give and when to pull back. Lyrically, “Jealous Type” is full of contradictions. She’s possessive but detached, vulnerable but mocking. Lines hit like side-eyes, and the chorus feels like a shrug wrapped in silk. There’s no resolution, no apology—just a portrait of someone who knows their flaws and wears them like glitter. It’s classic Doja: self-aware, stylish, and slightly dangerous. At #190, the song enters quietly, but that’s deceptive. “Jealous Type” isn’t built for instant impact—it’s the kind of track that slips into playlists and stays there, creeping up the chart while no one’s looking. It’s not trying to be the loudest voice in the room—it’s the one you keep thinking about after the party’s over. For Doja Cat, this isn’t a reinvention—it’s a reminder that she can still surprise you, even when she’s whispering.
	Look at last week's reviews here
	"The Hitmaster: mastering the rhythm of chart-topping hits."