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	Current EURO200
	New entries in the EURO200                                       Review for week 26 - 2026
	There’s a restless spark running through all three Olivia Rodrigo newcomers this week, a sense that YOU SEEM PRETTY SAD FOR A GIRL SO IN LOVE is less an album than a lived‑through emotional timeline. Taken together, “STUPID SONG” (#18), “HONEYBEE” (#139) and “EXPECTATIONS” (#186) form a clean arc: the rush, the warmth, the reckoning. Each track occupies its own emotional register, yet they all feed into the same narrative spine — the rise, chaos and aftermath of a relationship that reshaped her sense of self. “STUPID SONG”, the highest newcomer at #18 and the album’s third official single, is the moment where infatuation becomes a kind of temporary insanity. Rodrigo channels the obsessive, disorienting early phase of love with a clarity that feels almost intrusive. The verses are hushed and confessional, as if she’s whispering secrets she hasn’t fully admitted to herself, drawing directly from the raw emotional candor of Annie Ernaux’s Simple Passion. Then the track detonates into a euphoric blast of guitars, a sonic metaphor for surrendering to a feeling that refuses to be contained. The contrast between restraint and explosion mirrors the psychological whiplash of falling too fast, too hard. What makes the song land is its refusal to romanticise that chaos; Rodrigo exposes the irrationality, the self‑mockery, the way you lose your grip on your own logic. It’s the album’s emotional ignition point, and its high debut reflects just how sharply it cuts. “HONEYBEE”, new at #139, shifts the temperature entirely. Where “STUPID SONG” spirals, this track exhales. Rodrigo has called it a pure and simple love song, and that purity is exactly what gives it weight within the album’s chronology. Built on warm, organic textures and sun‑lit metaphors like “sticky sweet, tangerine”, it captures the tenderness of a connection that feels safe rather than overwhelming. Yet even in its softness, there’s an undercurrent of fear — the quiet knowledge that something this gentle can be fragile. The chorus carries that tension, acknowledging how easily joy can slip through your fingers. It’s a moment of stillness in the album’s emotional storm, a snapshot of love at its most unguarded, and its modest chart position doesn’t diminish its narrative importance. By the time “EXPECTATIONS” arrives at #186, the relationship has already burned through its brightest phases. Produced by Dan Nigro and co‑written with Amy Allen, the track represents the healing chapter — the point where Rodrigo stops excavating the past and starts rebuilding herself. The writing is sharp, self‑aware and laced with humour, especially when she skewers the emotional immaturity she once tolerated (“fake job” being one of the album’s most pointed jabs). She looks back at the version of herself who gave everything away “with zero stipulations” and recognises how unsustainable that was. The song doesn’t wallow; it recalibrates. It’s the sound of someone reclaiming their standards, refusing to settle for half‑formed affection or partners who can’t meet her where she stands. The production mirrors that clarity — clean, steady, grounded. What ties these three tracks together is the way they map the emotional topography of a relationship from ignition to aftermath. “STUPID SONG” is the freefall, “HONEYBEE” the fleeting calm, “EXPECTATIONS” the reconstruction. Rodrigo threads these phases with a narrative precision that makes the album feel almost novelistic. Hearing them debut together in the EURO200 reinforces that arc: the thrill, the sweetness, the self‑correction. It’s a rare week where three newcomers from the same artist don’t just coexist — they illuminate one another.
	There’s an immediate jolt of electricity running through “AYAYAY”, the kind of spark that only happens when two artists with completely different cultural gravities collide and somehow amplify each other instead of cancelling out. New at #69 in the EURO200, the track pairs Italy’s trap monarch Sfera Ebbasta with Belgian‑Moroccan hitmaker DYSTINCT, and the result feels like a summer anthem engineered with almost scientific precision. Released on 5 June 2026 under Cupido Srl and distributed by Universal Music Italia, it arrives at exactly the right moment — the season when rhythm matters more than reason, and when a hook can define entire weekends. The production by YAM and Unleaded is the track’s secret engine. It’s warm, humid, and hypnotic, built on a slinky beat that blends hiphop, urban pop and unmistakable North‑African and Arabic inflections. Nothing about it feels forced; the influences melt together into a groove that feels both global and unmistakably Mediterranean. The chorus is razor‑sharp and deliberately repetitive, the kind of melodic loop that embeds itself in your brain before you’ve even realised you’re humming it. It’s the sound of late nights, open windows, and a dancefloor that doesn’t care where you’re from as long as you move. Lyrically, “AYAYAY” is more layered than its breezy exterior suggests. Written by Gionata Boschetti and Iliass Mansouri, the song touches on the darker side of fame — the scrutiny, the jealousy, the constant noise of people who talk without knowing. Both artists question why negativity follows success, but they do it with a shrug rather than a wound. The tone isn’t bitter; it’s defiant. They’re too busy winning to worry about who’s watching. What makes the track resonate is how naturally the two artists complement each other. Sfera brings his signature melodic trap delivery, polished and confident, while DYSTINCT adds fluidity, sensuality and a cross‑cultural brightness that lifts the entire record. Together, they create a track that feels bigger than either of them alone — a pan‑European summer weapon with global ambitions. Fans calling it the “summer hit” aren’t exaggerating. “AYAYAY” has the timing, the chemistry and the replay power to dominate the season, and its debut at #69 suggests it’s only just getting started.
	“BALOTELLI”, new at #99 in the EURO200, hits with the force of a striker sprinting straight through the defensive line — reckless, explosive, and absolutely sure of its own momentum. THIZZY52, the Congolese-born rapper operating out of Aachen, has been building a reputation in the German trap scene for raw energy and street‑hardened charisma, and this track feels like the moment where all those elements snap perfectly into place. Released on 11 June 2026 under Universal Music Group via too7, it wasted no time pulling in millions of streams and a tidal wave of video views, signalling that his rise is no longer underground chatter but a full‑blown surge. The production, crafted by DLS with co‑producer Oliver Zoéga and mastered by Ludwig Maier, is a heavy, layered construction that leaves no room for hesitation. The beat is thick and muscular, built on contemporary trap foundations but sharpened with a metallic edge that suits THIZZY52’s delivery. There’s a sense of propulsion in the low end — a forward‑leaning aggression that mirrors the track’s central metaphor. The title “BALOTELLI” isn’t just a nod to the Italian football icon; it’s a declaration of intent. Like Mario Balotelli at his most unpredictable and brilliant, THIZZY52 positions himself as someone who thrives in chaos, who performs best under pressure, who stays “on fire” even when the world expects him to crack. Lyrically, the track is a manifesto of ambition. THIZZY52 raps about fast deals, relentless hustle and the refusal to slow down (“wir jagen weiter”), framing success not as a destination but as a chase that never ends. His flow is commanding, almost confrontational, pushing each bar forward with the urgency of someone who knows exactly how far he’s come — from Kinshasa to Aachen to the broader European stage — and refuses to let the momentum slip. What makes “BALOTELLI” stand out is how cleanly it fuses persona, production and purpose. It’s not just a hard track; it’s a character study set to 808s, a portrait of an artist who sees himself as unstoppable and performs accordingly. At #99, it’s already punching above its weight, and it feels like only the beginning of a much larger climb.
	Some songs don’t enter the charts so much as slip into the atmosphere, and this one does exactly that — quietly at first, then unmistakably present. New at #110 in the EURO200, “CANTO D’AMORE” pairs Angelina Mango and Marco Mengoni in a collaboration that feels instinctive rather than strategic, the kind of meeting where two distinct artistic worlds find a shared emotional frequency. Released on 12 June 2026, the track immediately caught fire on TikTok, where fans crowned it the Italian summer anthem before the first weekend had even passed. But the song’s appeal goes deeper than its viral momentum. Mango and Mengoni co‑wrote it with seasoned hitmaker Jacopo Ettorre, while Giovanni Pallotti and Cripo shaped the production into something bright, propulsive and emotionally layered. Andrea Suriani’s mastering gives it the clarity and punch of a major pop release without sanding off its personality. What makes the track compelling is the interplay between the two voices. Mengoni brings warmth and gravity — that unmistakable, resonant tone that has carried him through multiple Sanremo victories and Eurovision stages. Mango counters with rhythmic sharpness and a modern edge, giving the song its pulse. They don’t blend into one another; they move around each other, creating a dynamic tension that lifts the chorus into something sweeping and cinematic. Beneath the upbeat exterior lies a thread of melancholy. The lyrics explore the fear of disappearing in a digital world — “facciamo storie per non scomparire” — and the emotional weight that lingers even when life appears bright on the surface. It’s a love song, but one that refuses to be naïve. The contrast between the energetic production and the reflective text gives the track its depth, turning it into something more than a seasonal hit. As a newcomer at #110, the song arrives with momentum and emotional clarity. Mango and Mengoni deliver a collaboration that balances summer brightness with a quiet ache, proving that Italian pop can still surprise when two strong voices choose to meet in the middle.
	There’s a quiet kind of magic in the way certain songs manage to feel like a hand on your shoulder, and this track is exactly that kind of presence. New at #116 in the EURO200, “Glaub an dich” arrives not with bombast but with warmth — the sort of warmth that spreads slowly, confidently, and without needing to prove anything. It’s the latest creation from BearyTunes, a project that has become a beloved fixture in the German‑speaking world precisely because it refuses to talk down to its audience. Instead, it builds music that speaks to children and adults with the same emotional sincerity. The creative force behind this release is songwriter and producer Elena Keller, whose fingerprints are all over the track’s gentle architecture. The production leans into organic textures: soft percussion, warm acoustic layers, and a melodic progression that feels intentionally soothing. It’s modern pop, but stripped of cynicism — a rarity in a chart landscape dominated by intensity, volume and attitude. The song’s popularity on platforms like YouTube, where it has already gathered millions of views, shows how deeply this approach resonates. People aren’t just listening; they’re returning to it. At its core, “Glaub an dich” is an empowerment anthem, but not the kind that shouts its message. Instead, it offers encouragement with a kind of calm conviction. The lyrics revolve around self‑belief, resilience and the idea that strength often begins with a single, quiet decision to trust yourself. It’s written to uplift listeners of all ages, and that universality is what gives the track its emotional weight. Children hear reassurance; adults hear recognition. What makes the song stand out in the EURO200 context is how radically different its energy is. Where many chart entries chase adrenaline, this one creates space. It’s a moment of stillness, a reminder that positivity doesn’t have to be loud to be powerful. As a newcomer at #116, it brings a refreshing softness to the week’s lineup — a gentle but unmistakable statement that kindness and confidence still have a place in modern pop.
	Some tracks don’t just enter the charts — they burst in like a crowd already dancing, carrying their own atmosphere with them. New at #125 in the EURO200, “Mopao aye” is exactly that kind of arrival: a vibrant, communal celebration shaped by the unmistakable identity of TRIANGLE DES BERMUDES and their core collaborators MC YOSHI, Mauvais Djo and Kokosvoice. The collective has built a reputation for club‑ready anthems that blend French and African influences, and this track from their acclaimed album 404 shows why their formula keeps resonating across Europe. The title itself is a statement. “Mopao aye”, Lingala for “Mopao is here”, pays direct homage to Congolese legend Koffi Olomidé — a nod that carries cultural weight far beyond a simple reference. It’s a salute to a musical lineage that shaped generations, and the track channels that heritage with confidence rather than nostalgia. This isn’t imitation; it’s continuation. Producers Aznar and Taliixo construct the song around a rolling, hypnotic percussive pattern that feels engineered for movement. The beat is warm, elastic and subtly layered, giving the track a pulse that never loosens. Over that foundation, the vocal chemistry becomes the real engine. Mauvais Djo brings depth and grit, grounding the track with his unmistakable tone. MC YOSHI slices through the mix with sharp, rhythmic precision, while Kokosvoice adds melodic lift that keeps the track bright and fluid. Each voice occupies its own lane, yet they weave together with the ease of artists who know exactly how to amplify one another. What makes “Mopao aye” stand out is its dual identity: it’s a club weapon, yes, but also a cultural bridge. The Afrobeat and urban‑pop elements merge seamlessly, creating a sound that feels both rooted and global. It’s no surprise the track has become a favourite in European nightlife — it carries the kind of energy that fills rooms before people even realise they’re moving. As a newcomer at #125, the track arrives with swagger, heritage and undeniable replay power. TRIANGLE DES BERMUDES and their crew deliver a song that honours its inspiration while pushing their collective sound further into the continental spotlight.
	Heat, confidence and mischief radiate from the very first seconds of this collaboration, and that energy never lets up. New at #148 in the EURO200, “pa ti toa <3” unites Ana Mena and Lola Índigo in a partnership that feels like a natural extension of Spain’s current pop moment: bold, rhythmic, unapologetically sensual. Both artists teased their fanbases for weeks with cryptic hints, and when the single finally dropped via Sony Music Entertainment España, the reaction was instant — a wave of excitement that turned into millions of streams within days. The promotional push behind the release was impossible to ignore. Ana Mena’s appearance on the wildly popular TV show La Revuelta gave the track a national spotlight before it even had time to settle into playlists. That visibility, combined with the sheer star power of both singers, created the perfect launchpad for a song already engineered for summer dominance. Producer Tunvao shapes the track with a sleek, heavy reggaeton backbone — a beat that hits with weight but still leaves room for movement. SLATIN’s mix and mastering give everything a glossy finish, the kind that makes each vocal line snap into place. The production leans into Latin‑American rhythmic DNA while keeping the unmistakable Spanish pop identity of both artists intact. It’s sultry, it’s physical, and it’s built for crowded rooms where the lights are low and the bass does most of the talking. Vocally, the chemistry is effortless. Ana Mena brings her signature clarity and melodic sweetness, while Lola Índigo injects attitude, grit and rhythmic bite. Together, they create a push‑and‑pull dynamic that keeps the track alive from start to finish. It’s flirtation turned into choreography, confidence turned into melody. Spanish music press immediately labelled it a frontrunner for “song of the summer”, and it’s easy to understand why. “pa ti toa <3” has the timing, the swagger and the replay power to own the season — and its debut at #148 feels like the beginning of a much bigger climb.
	A track doesn’t need to shout to feel dangerous, and this one proves it from the very first second. New at #165 in the EURO200, “Dark Disco” marks a bold shift in Jerry Heil’s artistic identity — a deliberate step into a world where mysticism, theatricality and club culture collide. The Ukrainian singer‑songwriter, who captivated Europe during Eurovision 2024 with “Teresa & Maria”, now embraces a darker, more experimental palette that feels both unexpected and completely self‑authored. Written and produced by Jerry Heil (Yana Shemaieva) alongside Denys Sokolov, the track extends the retro‑mystical universe she introduced with “Turn Up the Volume (12 points)”. She even reuses a recognizable sample from that earlier hit, but instead of nostalgia, it functions like a portal — a familiar doorway into a far more shadowed room. The production is dense and atmospheric, opening with baroque‑gothic textures before erupting into a rave‑driven pulse that hits with the weight of a late‑night warehouse floor. It’s hypnotic, theatrical and intentionally disorienting. The visual world surrounding the release amplifies that intensity. Directed by Alan Badoev, the music video is a spectacle of symbolism and controlled chaos — including a moment where a dress literally burns on Jerry Heil’s body. It’s not shock for shock’s sake; it’s a visual metaphor for emotional combustion, for the way passion can consume and transform. The imagery mirrors the song’s lyrical duality, where modern club vocabulary (“beat”) intertwines with archaic, poetic language. The result is a narrative about surrendering to desire, losing control in the night, and letting the darkness reveal what daylight hides. Vocally, Jerry Heil moves with precision through the track’s shifting moods — whispering, chanting, soaring — as if she’s guiding the listener through a ritual rather than a pop song. The fusion of baroque drama, gothic tension and explosive electronic production shouldn’t work on paper, yet she makes it feel inevitable. As a newcomer at #165, “Dark Disco” arrives like a flare in the dark: strange, magnetic and impossible to ignore. It signals a new chapter for Jerry Heil — one where she stops following expectations and starts bending genres to her will.
	Nighttime in Berlin has its own rhythm — cold, metallic, restless — and this track taps into that pulse with unnerving precision. New at #172 in the EURO200, “Hin und Her” captures AK Ausserkontrolle exactly in the environment where his music thrives: behind the wheel, masked, alert, and moving through a city that never fully sleeps. The Kurdish‑German rapper has built an entire mythology around this world, and this release feels like another chapter carved straight out of his nocturnal reality. Produced by rising hitmaker Mikky Juic, the track leans into a dark, atmospheric soundscape that feels both cinematic and claustrophobic. The beat is heavy and deliberate, built on thick bass and a tense, looping structure that mirrors the constant back‑and‑forth suggested by the title. It’s the kind of production that doesn’t just accompany AK’s voice — it stalks alongside it. Every element is designed to amplify the sense of motion, urgency and paranoia that defines his storytelling. Lyrically, “Hin und Her” is a snapshot of a life lived in perpetual transit. AK describes cruising through the frozen Berlin night in his Rolls‑Royce Cullinan, phones buzzing nonstop with calls from clients — “die ganze Zeit rufen Kunden an”. It’s a world of deals, pressure and momentum, where stopping isn’t an option and silence is a luxury no one can afford. His delivery is sharp and controlled, almost monotone in its focus, which makes the tension feel even more real. He isn’t performing chaos; he’s documenting it. What gives the track its power is the way it merges environment and emotion. The hypnotic flow, the relentless bassline, the imagery of endless driving — it all forms a soundtrack for nights where adrenaline replaces sleep. It’s unmistakably AK Ausserkontrolle: gritty, unfiltered, and rooted in the streets that shaped him. Debuting at #172, “Hin und Her” arrives with the confidence of an artist who knows exactly what his audience expects — and delivers it with precision sharp enough to cut through the cold Berlin air.
	Energy can take many shapes in modern French rap, but Tiakola chooses a form here that feels almost airborne — light on its feet yet rooted in deep cultural memory. New at #177 in the EURO200, “Mélo Décalé” signals a major moment in his career: the second official single from his highly anticipated sophomore album WpointM, and already one of the most talked‑about releases of the season. Tiakola, who first broke through with the group 4KEUS, has long been known for his melodic instincts, but this track pushes him into a new artistic dimension. The production team — Liaz, StillNaS, Washy and Gaetan Judd — builds a rich, layered instrumental that feels both celebratory and meticulously crafted. Joe LaPorta’s mastering gives the track its final polish, the kind of clarity that lets every rhythmic detail breathe. What makes the sound so striking is its fusion: Tiakola blends his signature melodic rap with Coupé‑Décalé, the electrifying Ivorian dance style that dominated the early 2000s. Even the album artwork nods directly to a legendary 2004 Ivorian compilation, turning the release into a cultural bridge rather than a simple stylistic experiment. Lyrically, Tiakola reflects on the lineage that shaped him. When he raps, “Before trap in our neighbourhood, there was coupé‑décalé, so we came to show them the mélo décalé,” he isn’t just paying homage — he’s positioning himself within a continuum of African and French diasporic sound. It’s a reminder that musical evolution is never linear; it loops, references, reinvents. His delivery is smooth but charged, riding the beat with the ease of someone who knows he’s tapping into something bigger than a trend. The track’s impact has been immediate. It exploded on TikTok, climbed straight to the top of the French charts and is rising fast across Europe, especially in Belgium. The combination of nostalgia, innovation and pure rhythmic joy makes it one of Tiakola’s most compelling releases to date. As a newcomer at #177, “Mélo Décalé” arrives not as a side note but as a statement — a confident step into a new era where Tiakola reshapes his sound without losing the melodic DNA that made him a star.
	A track can feel like a late‑night confession wrapped in neon, and this one leans fully into that mood. New at #180 in the EURO200, “BNB” brings together Puerto Rican star Young Miko and rising talent Clarent in a collaboration that feels intimate, playful and effortlessly modern. Both artists operate in the space where reggaeton, trap and alt‑Latin aesthetics blur into each other, and this release shows how naturally their voices and energies align. Young Miko has built her reputation on razor‑sharp delivery and a cool, understated swagger, and she brings exactly that here. Her tone is relaxed but precise, the kind of flow that sounds like it was recorded at 3 a.m. with the lights low and the vibe just right. Clarent complements her with a smoother, more melodic approach, giving the track a push‑and‑pull dynamic that keeps it alive from the first bar to the last. Their chemistry is easy, unforced — the kind that makes a duet feel like a shared secret rather than a studio arrangement. Musically, “BNB” leans into a warm, minimal reggaeton beat, built around soft percussion, a pulsing bassline and atmospheric synths that give the track its nocturnal glow. The production leaves plenty of space, allowing both artists to stretch out their phrasing and play with rhythm. It’s the kind of beat that doesn’t demand attention but earns it, perfect for late‑night drives, rooftop sessions or the quiet hours when the city finally exhales. Lyrically, the song moves through flirtation, desire and the thrill of slipping away from the world for a moment — the “BNB” as a private escape, a place where rules loosen and time slows down. The writing is sensual without being heavy‑handed, confident without losing its softness. It fits neatly into Young Miko’s growing catalogue of tracks that balance attitude with vulnerability. As a newcomer at #180, “BNB” arrives with understated confidence. It’s not trying to dominate the room — it’s inviting listeners into a space that feels personal, warm and unmistakably contemporary. Young Miko and Clarent deliver a collaboration that lingers long after it ends, the kind of track that grows stronger with every replay.
	Momentum can turn a rising artist into a phenomenon, and Bilouki sounds like someone right in the middle of that transformation. New at #195 in the EURO200, “Full” stands as the flagship single of his album 24 KARA — a project that has pushed him from local promise to national force. Coming out of Noisy‑le‑Grand, he’s part of the new wave of French rap that blends street‑level grit with club‑ready energy, and this track captures that duality with striking clarity. The production, crafted by Stan aux manettes in collaboration with composer L.E. White, is instantly recognisable. It’s built on a pumping, muscular French rap backbone: sharp percussion, a thick low‑end and a rhythmic bounce that feels engineered for packed venues. The beat doesn’t just support Bilouki — it propels him. Every element is calibrated for impact, giving the track a sense of urgency that mirrors the lifestyle he describes. Lyrically, “Full” is a snapshot of rapid ascent. Bilouki raps with swagger about the whirlwind surrounding his club shows — “Full showcase, y’a moulto la plata” — painting a picture of nights where money flows, crowds surge and success feels both intoxicating and precarious. He reflects on the sudden attention from women drawn to his luxury cars, including a Lamborghini Aventador, and their fascination with high‑end brands like Louis Vuitton and Christian Dior. Yet beneath the bravado lies a note of detachment: he warns that he carries only “the vice”, refusing to let emotions complicate the momentum he’s built. It’s ambition wrapped in caution, confidence tempered by experience. The musical vibe is pure adrenaline. Bilouki’s flow is sharp, clipped and commanding, riding the beat with precision. The bridge — driven by a catchy, dance‑oriented “booty, booty” rhythm — injects a club‑centric pulse that makes the track impossible to sit still to. It’s the kind of moment designed to ignite crowds, and it explains why the song has exploded across streaming platforms and YouTube. As a newcomer at #195, “Full” arrives with the swagger of an artist who knows he’s leveling up. Bilouki delivers a track that blends street realism with club euphoria — a combination that feels tailor‑made for his rise.
	Sun‑drenched confidence radiates from every corner of this track, the kind of energy that feels imported straight from a Mediterranean shoreline. New at #198 in the EURO200, “PARTENOPE” unites an all‑star Italian lineup: Milanese hitmakers Merk & Kremont, the explosive jazz‑soul vocalist Serena Brancale, and The Kolors — the band that conquered Europe with “Italodisco”. It’s a collaboration that reads like a festival poster, and the music lives up to that promise. The title anchors the song in mythology. “Partenope” refers to the ancient Greek siren whose name became tied to the founding myth of Naples, and the track embraces that heritage with open arms. Rather than leaning on historical gravitas, it channels the city’s modern identity: sun, nightlife, romance, chaos, beauty. It’s a celebration of the Mediterranean as a state of mind — warm, restless, irresistible. Merk & Kremont’s production is sleek and vibrant, blending funk‑pop brightness with electronic precision. A rolling bassline gives the track its swagger, while vintage synths add a retro shimmer that feels tailor‑made for summer. The groove is tight but never rigid, leaving space for the vocalists to shape the emotional arc. Serena Brancale brings fire and elasticity, her voice cutting through the mix with effortless power. Stash from The Kolors adds the melodic pop clarity that has become his signature, delivering lines that balance nostalgia and flirtation. When he sings, “Già la vita è complicata, ci mancavi solo te stasera,” the sentiment lands with the weight of a late‑night confession. The song’s impact in Italy has been immediate. Critics have already flagged it as a major contender for the country’s “song of the summer”, and it’s easy to understand why: the track is catchy without being shallow, polished without losing its warmth, and built for both radio and dancefloors. It feels like a postcard from Naples written in neon ink. As a newcomer at #198, “PARTENOPE” arrives with the glow of a track destined to travel far beyond its origins — a radiant fusion of myth, melody and modern Italian pop craftsmanship.
	Look at last week's reviews here
	"The Hitmaster: mastering the rhythm of chart-topping hits."

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