Gareth.T

泥菩薩

攬佬SKAI ISYOURGOD

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

《用背脊唱情歌》是創作歌手Gareth.T與著名作詞人黃偉文再度合作的歌曲。這首歌曲標誌着他們的第五次合作，並顯示未來定會有更多合作。這首歌曲與他們之前作品中更鼓舞人心的慰藉感截然不同，相反採用一種陰鬱而脆弱的基調，探索那份不被滿足的失落。
這首歌探討人在失去愛情時的脆弱痛苦，穿梭於歌聲之間那比喻情感的誠實。歌曲主體圍繞着心碎與繼續前進的困難掙扎展開—— 表面上公開地表達悲傷，實則卻被人看穿其偽裝。而 「用背脊唱情歌」丶「正面像全裸」等關鍵歌詞則更凸顯了隱藏痛苦與表露真實感受之間的衝突。語氣憂傷而苦樂參半，穿梭於像渴望丶順從和接納之間的各種心情。歸根究底，這首歌反思了愛情中種種關於「如果」的徒勞。與觀眾分享那份令人心碎的孤獨，以及希望這種痛苦能夠成為一首引起他人共鳴的歌曲，即使當事人仍然陷於悲傷之中。
 《用背脊唱情歌》體現了更傳統的粵語流行音樂結構，可能是 Gareth 在他至今的創作生涯中創作最為典型的粵語流行音樂作品。旋律優美，帶領觀眾從柔和丶令人難忘的開頭到飆升的高潮，彷佛坐過山車一樣。這張專輯由 Gareth 和他關係密切的合作伙伴 Patrick Yip 製作；他也曾參與製作《緊急聯絡人》等着名曲目。歌曲的編曲則由其他多次合作的單位包括 Nic Tsui丶Gab de Leon丶Lee Yat Ding 和 Tom Wong。
 《用背脊唱情歌》的MV是 Gareth 第一個導演的項目，和很多過去影片中熟悉的面孔合作。視覺上主要呈現了三個場景：最初他在一間被紙巾包圍的房子裏獨自哭泣；然後在火熱的森林裏朝一棵樹射箭；最後是向「貓王」Elvis Presley's 1968 「Comeback Special」致敬。其中Gareth身穿白色燕尾服，背景則是他的中文名字。這段對「貓王」的引用有重大意義：因為它象徵着貓王在專注於其他追求一段時間後重返現場表演，這與Gareth在失去愛情後重返舞台相似。雖然MV只有三個長鏡頭，但這份簡潔卻增強了其衝擊力，更能表達出歌曲當中的原始情感。

“no full frontal” is the second in a series of collaborations between singer-songwriter Gareth.T and legendary lyricist Wyman Wong, following the release of “more than you know.” Marking their fifth partnership—and promising more to come—this track departs from the uplifting reassurance of their previous work. Instead, it embraces a somber and vulnerable tone, exploring themes of and unfulfilled desires.

This song explores the vulnerable pain of lost love, using the act of singing as a metaphor for emotional honesty. The main theme revolves around heartbreak and the struggle to move on—publicly expressing sorrow while others see through the façade. Key lyrics like “用背脊唱情歌” ("singing a love song with my back turned") and “正面像全裸” ("facing forward is like being naked") highlight the conflict between hiding pain and revealing true feelings. The tone is wistful and bittersweet, shifting between yearning, resignation, then acceptance. Ultimately, the song reflects on the futility of ‘what ifs’ in love, the loneliness of sharing heartbreak with an audience, and the hope that this pain can become a song that resonates with others, even as the singer remains trapped in sorrow.

The song embodies a more traditional Cantopop structure, likely the most quintessential Cantopop piece Gareth has created in his career. The melodies are sweet, taking the audience on a rollercoaster ride from soft, memorable intros to soaring climaxes. It is produced by Gareth and his close collaborator Patrick Yip, who has also worked on notable tracks like “Emergency Contact.” Contributing to the arrangement are other trusted collaborators, including Nic Tsui, Gab de Leon, Lee Yat Ding, and Tom Wong.
The music video is Gareth’s first self-directed project. Collaborating with familiar faces from past videos, he presents himself in three scenes: first, crying alone in a house surrounded by tissues; second, shooting arrows at a tree in a fiery forest; and third, paying homage to Elvis Presley's 1968 "Comeback Special," where Gareth performs in a white tuxedo against a backdrop of his name in Chinese. This Elvis reference is significant as it symbolizes a return to live performance after a period of focus on other pursuits, paralleling Gareth’s own comeback after grappling with lost love. Though the MV features only three long shots, its simplicity enhances its impact, capturing the raw emotion of the song.

用背脊唱情歌

Gareth.T 全新單曲 賦予愛的《顏色》 

曲：Gareth.T
詞：Gareth.T
編：Gareth.T/Patrick Yip/Gabriel de Leon/Nicholas Cheung
監：Gareth.T


《顏色》 是由Gareth.T 創作並一手包辦曲詞編監的華語流行歌曲，亦是一封他懷抱真摯情感寫給母親的信。

Gareth透過這首歌反映他和母親之間與生俱來的差異。但同時間強調母親的「色彩」是如何塑造了他的世界觀，並影響他的生活方式。儘管他們之間的差異性會自然而然地導致爭論和分歧，但Gareth表達了他對母親的深愛和親近，承認母親是引導他生命中的一份重要力量。透過歌詞承認自己雖仍未能完全理解母親的觀點，但開始慢慢認可母親那些藏在指導中的智慧。知道自己需要時間去變得更成熟，以符合她希望灌輸給自己的情感。

《顏色》 在母親節前夕發行。Gareth特地將歌曲作為禮物送給母親，以表達他對母親的感激和欣賞。他也希望這首歌能引起其他人的共鳴，提醒他們認識到母親的愛是如此重要。以及這份愛是如何在存在分歧的情況下，塑造他們的生活和觀點。

顏色

《你都不知道 自己有多好》 是香港唱作歌手 Gareth.T 2025年首支單曲的發行。這首由他本人作曲的粵語歌曲，並於填詞人黃偉文合作，探討了自我激勵、自愛和自我覺醒的主題。
許多人掙扎於低落的自尊，無法認識到自己的真正潛力。Gareth 如同許多人一樣，也面臨着相似的疑慮，而這首歌則提醒了他自己的目標——成就偉大。歌詞以創新的方式構建了這段旅程，運用變種人和野獸的意象，象徵着未被髮掘的力量，例如爪和翅膀。
這個訊息不僅對 Gareth 和黃偉文而言是個人的，更是他們希望與聽眾分享的情感，鼓勵他們發現內在的光芒和力量。在音樂上，這首自制歌曲汲取了 Kanye West 和 G-Dragon 等藝人的影響，將西方和韓國流行嘻哈元素與粵語融合——這在主流粵語流行音樂中是罕見的組合。儘管主題沉重，Gareth 仍在歌曲中注入了輕鬆愉快的氛圍，使所有聽眾都能享受其中。

你都不知道 自己有多好

Gordon Flanders

Kiri T

moon tang

not so xmas xmas, Vol. 2

Gareth.T - 偶像已死 (idole sind tot)

Gareth.T’s new cantopop song "idole sind tot" marks a bold departure for the artist. Featuring lyrics penned by the acclaimed lyricist and close collaborator Wyman Wong, the track offers a critical reflection on the worship of false idols, a theme that resonates differently with each listener. Idolatry takes many forms, and often people elevate ideas, objects or individuals—who are merely products of hyperbolic marketing—to a divine status.

Drawing from his personal experience, he once idolized several international icons during his formative years, modeling his life after them. However, after some reality checks, he realized they were just ordinary people simply deserving of recognition and inspiration, not full-on worship.

Self-produced by Gareth, the song draws inspiration from 80s and 90s minor-key Cantopop. It blends rich, dramatic elements with lush pop-classical music strings, creating a dark, stoic atmosphere reminiscent of antihero films.

Gareth.T 推出最新廣東歌 “偶像已死” 標誌着這位唱作歌手的大膽嘗試。這首歌的歌詞由着名作詞家和長期合作伙伴黃偉文創作，對虛假偶像的崇拜進行了批判性反思，然而這主題與每個聽眾產生了不同的共鳴。偶像崇拜有許多形式，人們常常將思想、物體或甚至個人提升到神聖的地位。

而根據Gareth的自身經歷，他在成長過程中亦曾崇拜過幾位外國偶像，並以他們為榜樣。然而對照現實後，才意識到他們也只是能啓發創作和值得被認可的音樂人，而不應該盲目崇拜。

這首歌由 Gareth.T 親自編曲及監製，靈感來自 80 年代和 90 年代小調粵語流行音樂。它將戲劇性的元素與流行古典音樂絃樂融為一體，營造出一種黑暗、堅忍的氛圍，讓人想起反英雄電影。
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Composer 作曲：Gareth.T, Teddy Fan
Lyricist 作詞：黃偉文
Arranger 編曲：Gareth.T, Teddy Fan, Justin Yau, Gabriel De Leon
Producer 監製：Gareth.T, Enoch Cheng

偶像已死

https://image.joox.com/JOOXcover/0/8d2bf6ca78369d8a/300

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