揽佬SKAI ISYOURGOD

来来来兄弟抱一下，条条大路通罗马！

《城中村中城》由揽佬和Jacking共同制作，“揽式孟菲斯”风格依旧鲜明。其中温柔质感女声王笠人的加入，为歌曲注入了细腻的情感底色。歌曲歌词充满诙谐戏谑，粗粝江湖气与柔软完美交融，让兄弟情义的内核愈发鲜活立体。

做人要够有料，跌倒也没关系，我们无所畏惧。
脚踏实地，步步生财！

城中村中城

瘦恒SOULHAN

PlayerJ

步步高先生

阿牛

由揽佬SKAI ISYOURGOD、瘦恒SoulHan、Y.H.L领衔的全新说唱组合【伍條柒】，正式发布第一张同名Mixtape。

五个有着不同音乐色彩
却有着相同文化背景的“柒”
用最地道的白话
最江湖的腔调
完成了一次对本土文化的深耕

伍條柒 (Explicit)

Tia Ray

小红书音乐联袂袁娅维与揽佬，带来显化一整年好运的「王炸之作」《Sweet Luck(薯你好运)》！

这是一次好运拉满的梦幻联动，让Urban / Soul 气质突出的袁娅维，与持续探索本土化孟菲斯说唱表达的揽佬奇妙融汇；也让细腻如月光流动的声线、与松弛而自带烟火气的腔调，在一首歌里交织出锐意与柔软的双重质感。它“薯”于当下，更“薯”于你我。

歌曲的制作融合Trap节奏、Funk编配与Soul的情绪层次，鲜活又入耳。用最新潮的方式传递新春祝福，也用更坚定的态度展开“自我实现的预言”：首先敢想，才能得到；尽兴喜欢自己，本身就是好运的起点。

薯你好运，愿你我带着满满的好状态与好心情，显化一个更勇敢的自己、一段更尽兴的旅程。

Sweet Luck（薯你好运）

“讲雷气，拜关二，唔使多讲，话嚟就嚟。”
在大湾区的街头语境里，有一种最高级别的默契叫“雷气”（义气）。由瘦恒SoulHan、揽佬SKAI ISYOURGOD、Player J、步步高先生、阿牛组成的硬核说唱阵列【伍條柒】，再次祭出重磅单曲《拜关二哥》，用最硬的韵脚和最烫的烧酒，祭奠那份快被资本时代遗忘的兄弟情。
歌曲开篇即是经典的“桃园誓词”，瞬间将听众拉回那个烟火缭绕的义气时代。但【伍條柒】并没有停留在怀旧，他们将“关二哥”这一精神图腾，精准地植入了现代都市的钢筋水泥之中。从“烧黄纸”到“分Money”，从“唱K”到“惹是非”，这首歌解构了当代江湖的真面目：兄弟是底气，是即便面对“善变的资本家”也敢敞开背后的那份绝对信任。
这首歌用最地道的白话，最江湖的切口，完成了一次对本土文化的深耕。
无需虚伪的寒暄，今晚烧酒淋落地，我们只讲雷气。

拜关二哥

大湾区最生猛的街头力量正式集结！

由揽佬SKAI ISYOURGOD、瘦恒SoulHan、Y.H.L领衔的全新说唱组合【伍条柒】，携首支诚意之作《都知订》正式炸场。歌名取自粤语口语“都知埞”——这是兄弟间无需言语的默契，也是这群街头玩家对地盘掌控力的自信：真正的“閪佬”，从不需要定位。

【伍条柒】联合Mixtape即将上线！敬请期待！

都知订

Gareth.T

Gareth.T, 揽佬SKAI ISYOURGOD  一笔勾销 《跟悲伤结了帐》

乐坛新生代中两把最具辨识度的声音——Gareth.T 和揽佬 SKAI ISYOURGOD首次在《跟悲伤结了帐》碰撞。 Gareth向来善于把真实赤裸的情感化成令人难忘的旋律，「饶舌神童」揽佬则靠其轻巧而令人上瘾的爆红作品备受喜爱。他们的首次合作宛如一场属于两位年少成名，却仍然为爱心碎的自白。
这首歌如同一场平静的觉悟──并非单纯有关心碎，更多是聚焦于抚平情感的痛苦。歌词带出一切并非顺其而然地结束的，更象是两人在强迫自己放手。而他们都很清楚不可能干脆利落地结束的；而是记忆与自我保护之间永恒的协商。
透过歌曲的制作也反映出这种张力，《跟悲伤结了帐》由 Gareth、Big Spoon、Jacking 和 Patrick Yip 共同制作。副歌由Gareth柔和的钢琴声中贯穿，为揽佬的饶舌部分铺陈逐渐过渡到爵士朦胧的节奏，在之后的章节再度转变为沉重阴暗的Trap音乐。这种过渡与歌曲的核心主题相呼应：反思逐渐强化成为一种自我保护。

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.

跟悲伤结了帐

八方来财之江船入海

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

城中村中城

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城中村中城

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