攬佬SKAI ISYOURGOD

來來來兄弟抱一下，條條大路通羅馬！

《城中村中城》由攬佬和Jacking共同製作，“攬式孟菲斯”風格依舊鮮明。其中温柔質感女聲王笠人的加入，為歌曲注入了細膩的情感底色。歌曲歌詞充滿詼諧戲謔，粗糲江湖氣與柔軟完美交融，讓兄弟情義的內核愈發鮮活立體。

做人要夠有料，跌倒也沒關係，我們無所畏懼。
腳踏實地，步步生財！

城中村中城

瘦恒SOULHAN

PlayerJ

步步高先生

阿牛

由攬佬SKAI ISYOURGOD、瘦恆SoulHan、Y.H.L領銜的全新説唱組合【伍條柒】，正式發佈第一張同名Mixtape。

五個有着不同音樂色彩
卻有着相同文化背景的“柒”
用最地道的白話
最江湖的腔調
完成了一次對本土文化的深耕

伍條柒 (Explicit)

袁婭維

小紅書音樂聯袂袁婭維與攬佬，帶來顯化一整年好運的「王炸之作」《Sweet Luck(薯你好運)》！

這是一次好運拉滿的夢幻聯動，讓Urban / Soul 氣質突出的袁婭維，與持續探索本土化孟菲斯説唱表達的攬佬奇妙融匯；也讓細膩如月光流動的聲線、與鬆弛而自帶煙火氣的腔調，在一首歌裏交織出鋭意與柔軟的雙重質感。它“薯”於當下，更“薯”於你我。

歌曲的製作融合Trap節奏、Funk編配與Soul的情緒層次，鮮活又入耳。用最新潮的方式傳遞新春祝福，也用更堅定的態度展開“自我實現的預言”：首先敢想，才能得到；盡興喜歡自己，本身就是好運的起點。

薯你好運，願你我帶着滿滿的好狀態與好心情，顯化一個更勇敢的自己、一段更盡興的旅程。

Sweet Luck（薯你好運）

“講雷氣，拜關二，唔使多講，話嚟就嚟。”
在大灣區的街頭語境裏，有一種最高級別的默契叫“雷氣”（義氣）。由瘦恆SoulHan、攬佬SKAI ISYOURGOD、Player J、步步高先生、阿牛組成的硬核説唱陣列【伍條柒】，再次祭出重磅單曲《拜關二哥》，用最硬的韻腳和最燙的燒酒，祭奠那份快被資本時代遺忘的兄弟情。
歌曲開篇即是經典的“桃園誓詞”，瞬間將聽眾拉回那個煙火繚繞的義氣時代。但【伍條柒】並沒有停留在懷舊，他們將“關二哥”這一精神圖騰，精準地植入了現代都市的鋼筋水泥之中。從“燒黃紙”到“分Money”，從“唱K”到“惹是非”，這首歌解構了當代江湖的真面目：兄弟是底氣，是即便面對“善變的資本家”也敢敞開背後的那份絕對信任。
這首歌用最地道的白話，最江湖的切口，完成了一次對本土文化的深耕。
無需虛偽的寒暄，今晚燒酒淋落地，我們只講雷氣。

拜關二哥

大灣區最生猛的街頭力量正式集結！

由攬佬SKAI ISYOURGOD、瘦恆SoulHan、Y.H.L領銜的全新説唱組合【伍條柒】，攜首支誠意之作《都知訂》正式炸場。歌名取自粵語口語“都知埞”——這是兄弟間無需言語的默契，也是這羣街頭玩家對地盤掌控力的自信：真正的“閪佬”，從不需要定位。

【伍條柒】聯合Mixtape即將上線！敬請期待！

都知訂

Gareth.T

Gareth.T, 攬佬SKAI ISYOURGOD  一筆勾銷 《跟悲傷結了帳》

樂壇新生代中兩把最具辨識度的聲音——Gareth.T 和攬佬 SKAI ISYOURGOD首次在《跟悲傷結了帳》碰撞。 Gareth向來善於把真實赤裸的情感化成令人難忘的旋律，「饒舌神童」攬佬則靠其輕巧而令人上癮的爆紅作品備受喜愛。他們的首次合作宛如一場屬於兩位年少成名，卻仍然為愛心碎的自白。
這首歌如同一場平靜的覺悟──並非單純有關心碎，更多是聚焦於撫平情感的痛苦。歌詞帶出一切並非順其而然地結束的，更象是兩人在強迫自己放手。而他們都很清楚不可能乾脆利落地結束的；而是記憶與自我保護之間永恆的協商。
透過歌曲的製作也反映出這種張力，《跟悲傷結了帳》由 Gareth、Big Spoon、Jacking 和 Patrick Yip 共同製作。副歌由Gareth柔和的鋼琴聲中貫穿，為攬佬的饒舌部分鋪陳逐漸過渡到爵士朦朧的節奏，在之後的章節再度轉變為沉重陰暗的Trap音樂。這種過渡與歌曲的核心主題相呼應：反思逐漸強化成為一種自我保護。

Two of the most distinct voices in the new wave — Gareth.T and SKAI ISYOURGOD collide on “No More.” Gareth, known for turning honest emotion into unforgettable melodies, and rap prodigy SKAI, beloved for his effortlessly viral records. Their first collaboration plays like a confession from two twenty-somethings who’ve tasted success yet still can’t quite outrun heartbreak.

The song unfolds like a quiet reckoning—less about heartbreak itself, more about settling the emotional tab. Gareth “signs off” from grief by returning the keys, erasing the past and placing his love on a bed of white roses. His writing turns emotional recovery into paperwork, a metaphor for taming an overwhelming emotion with a rigid document. Then SKAI’s verse hits mid-flight, literally. He’s on a plane, deleting memory-stirring songs from playlists, fighting the urge to text the one he shouldn’t. His restraint speaks louder than any dramatic outburst. Together, they weave heartbreak into two textures—one raw, one quiet—but equally piercing.

The lyrics feel less like organic closure and more like two people deliberately pushing themselves to let go. Beneath that resolve, both seem aware that closure is never clean; it’s an ongoing negotiation between memory and self-preservation. Their voices orbit each other without ever fully meeting, like two people closing the same chapter from different pages.

The song production mirrors that tension. Produced by Gareth, Big Spoon, Jacking, and Patrick Yip, Gareth’s hook drifts over soft pianos, easing into a jazzy, hazy beat for SKAI’s rap, then shifts into a heavy, dark trap in the second verse. The transition mirrors the song’s core theme; reflection gradually hardens into self-protection.

The music video, directed by Gareth with Big Spoon and Hanley Chu, leans into that irony. But instead of a sorrowful visual, it channels hip-hop’s late ’90s to mid-2000s flash—Cash Money, Bad Boy, Ruff Ryders, Hot Boys and Dipset—and flips heartbreak into spectacle. Gareth signs his “contract” to leave sadness behind like an NBA draft moment, then joins SKAI for classic rap-video scenes: cruising in a Bentley with friends (a nod to rap’s tradition of car luxury scenes), heavenly all-white shots surrounded by doves straight out of late-’90s, early-2000s R&B, and gritty gym scenes reminiscent of DMX videos. It’s tongue-in-cheek humor, intentionally using optimistic energy to push through the pain.

In the end, “No More” doesn’t offer catharsis as much as it acknowledges how love lingers even after you’ve sworn it off. The final moment — where the music video breaks the fourth wall, revealing a raw studio shot beneath layers of CGI — strips the illusion and underscores the truth. The song and video turn sadness into swagger, and closure into something that still feels just slightly unfinished.

跟悲傷結了帳

八方來財之江船入海

https://image.joox.com/JOOXcover/0/ce2c77f2c36790cd/300

城中村中城

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