I love that concept—raw, urban, and full of texture. Start by recording the spray can hiss, then run it through a low‑pass filter to shape it into a deep, rumbling bass line. Layer that with a bright, short snare from the primer pop, but keep the snare tight; use a transient shaper so it punches without cutting the hiss. For the graffiti echo, use a plate reverb with a long decay and a low‑pass on the tail to avoid muddying the mix—then maybe add a subtle delay so the echo feels like it's bouncing off the walls. Tweak the EQ on each element so they occupy their own space, and consider side‑chaining the bass to the snare for that pumping city feel. Once you get the balance right, add a subtle high‑end sparkle with a slight stereo spread to make it feel alive. Ready to drop the first beat?