Official song · Graffiti by ALL(H)OURS

Graffiti

ALL(H)OURS traded the apocalypse bunker for a skateboard, a spray can and the very specific confidence of boys who think the city was waiting for their color palette.

Local thumbnail from the official ALL(H)OURS “Graffiti” music video. Watch the official upload.Daily+183Total views5.8M

ALL(H)OURS profileSmoke PointJanuary 17, 2025RaeRae React

Overall vibe

“Graffiti” is ALL(H)OURS loosening their shoulders without losing their pulse. Breakbeat, a 1990s UK-techno bass line, skateboards and a chorus built for yelling with strangers. It is young without trying to speak in internet slang, which already puts it ahead of several corporate mood boards.

Song file

Artist	ALL(H)OURS
Release	January 17, 2025
Album	Smoke Point, pre-release and double title track
Length	2:33
Lyrics	Jo Yuri, Daniel Kim and VINCENZO
Composition	Arston, Rico Greene, Ronnie Icon, VINCENZO and Daniel Kim
Arrangement	Same credited production team

RaeRae scorecard

Hook	8/10 · stupidly easy to remember
Production	8.5/10 · breakbeat with clean shoes
Vocals / rap	8/10 · everyone sounds less clenched
Choreography	8.5/10 · physically rude
Video	7.5/10 · cheap in the correct direction
Replay danger	High

The hook vibe: paint over the boring part

The chorus repeats the title like a tag sprayed across the same wall until it belongs there. The melody is intentionally simple, but the rhythm underneath it keeps bouncing. The word breaks apart and restarts, which makes the hook feel like movement rather than a vocabulary shortage.

My favorite choice is the contrast between the groovy invitation and the harder rap delivery. The song is not asking permission to improve the neighborhood. It is dragging color into a dull street while somebody in the background complains about public property.

What I love

The breakbeat and UK-techno bass give ALL(H)OURS a different body language.
The chorus sounds communal. It wants a crowd, not a throne.
The rappers keep their edges while the vocalists get a brighter canvas.
The board, paint and street-sign imagery all support the same idea.
The street version later proved the concept could survive without a shiny set.

What I side-eye

Two minutes and thirty-three seconds is barely enough time to vandalize one tasteful wall.
The final chorus needs one more escalation or a member-specific vocal surprise.
The MV edit occasionally cuts away exactly when I want the full formation.
The “graffiti equals freedom” metaphor is not new; personality has to do the heavy lifting.

Lyrics and meaning: leave a sign that says you were here

The lyrics start with a boring street and the decision to repaint it in many colors. The people who click their tongues and complain become part of the obstacle course. The group keeps riding, spraying and inviting strangers to become friends.

That last part is what keeps the song from turning into seven boys congratulating themselves for owning paint. The new world is meant to be shared. “Come closer” and “fill it up” make the act communal. The mark matters because somebody else can see it and add to it.

Vocals, rap and production

Sports Kyunghyang described the track as a pop song combining breakbeat and a 1990s UK-techno-style bass line with energetic hip-hop. That description is unusually accurate. The bass is not buried underneath cinematic sound effects; it is the street the whole arrangement rolls across.

The rap line gets clipped, punchy phrases that suit the skateboard momentum. The vocal line softens the edges just enough for the invitation to land. Nobody is showing off a twelve-second high note, and the song does not need one. I would still take a longer bridge because the voices deserve more than traffic-control duty between hooks.

The video presentation

The official MV is choreography first. Street props, graphic color, concrete and boards establish the world quickly, then the camera follows the members through it. ON:N later said filming took twelve hours and that the lack of acting scenes made the hardcore choreography physically exhausting. You can see why. The video keeps demanding full-body energy instead of letting a plot scene become nap time.

The street aesthetic also keeps expectations honest. This is not pretending to be a feature film about underground artists. It is a performance video with enough environmental storytelling to make the song legible before subtitles.

Easter eggs and details worth rewinding

The spray gesture appears in both hands and formation pathways.
Skateboard travel mirrors the lyric about cutting through the wind.
Strangers and boundaries soften as the color spreads.
The repeated title functions like a visual tag: the same signature, placed everywhere.
The later official street MV strips away more polish and tests whether the groove still works. It does.

The backstory: practiced between countries

“Graffiti” was revealed as the pre-release for Smoke Point, then became one half of a double-title-track comeback with “GIMME GIMME.” The album’s larger idea was a smoke point—the moment accumulated experience and passion become visible heat.

Youmin said the song was a new challenge because it let the group release feelings freely, like painting graffiti. Minje connected the concept to the growth gathered from their first two mini albums. ON:N added a wonderfully practical detail: they worked on the choreography and performance video while promoting in Japan, the first time they had practiced a comeback song outside Korea. Suddenly the travel energy in the song feels less like styling and more like the schedule leaking into the work.

I could verify the member comments and songwriting credits. I did not find a trustworthy interview with the music-video director explaining a hidden plot, so the director will not be receiving imaginary thoughts from me today.

RaeRae verdict

“Graffiti” is not ALL(H)OURS at their loudest. It may be them at their easiest to like. The metaphor is familiar, the runtime is criminally short and the final chorus needs another layer. But the groove gives all seven members room to look like young people instead of survival-game finalists escaping a factory. Sometimes freedom is not a lore document. Sometimes it is a skateboard and enough bass to annoy the tasteful adults.