2006 – present (12 years)
Boston, Suffolk County, Massachusetts, United States
Retrospek, a hip-hop trio from Boston first came together in 2006 when Rah Intelligence (Producer) and JuneLyfe (MC) met A. Spendacash (MC) through a mutual friend. Rah and June had been friends and musical collaborators since high school. It was at an impromptu cypher outside a show that a light sparked in Rah's mind: Stopping Spenda mid-verse, he shared a vision for making music as a trio with himself, Spenda and Junelyfe. The next week the three met up, put on some records, and vibed out – finding common ground and shared interests that would serve as the basis for future musical collaborations. This was the beginning of the organic chemistry that has defined the groups distinctive sound. And thus in a smokey Roxbury apartment, Retrospek was born.
They met and recorded regularly for the next couple of years and in late 2009 released the EP SOMESHYTWEDID to wide critical acclaim on blogs like potholesinmyblog.com and whiskeyteeth.com,etc. They followed this up with their sophomore EP Boom Bap And Beyond which also received high-praise kevinnottingham.com, dotgotit.com, rule4080.com and etc.
Retrospek continued to record, putting out singles and working with other artists including fellow members of the Cool Collective Reps Music Group (CCRMG), a local hip-hop collective the trio founded. They also began doing more shows, in Boston and beyond, opening for and sharing the stage with artists such as Pharoahe Monch, Raekwon, Styes. P, Sean Price, Guilty Simpson, Blu, Black Milk, Nat Turner, Oddisee, DJ Premier and Pete Rock.
2012 marks the release of their debut LP, Sleepwalker's Remedy and Retrospek continues to set the bar higher for themselves with each successive release. They are a group truly greater than the sum of its parts, each individual bringing unique skills and perspectives into the equation. United by a shared appreciation for music and outlook on the craft, especially the decaying state of hip-hop, Retro continues to push the limits, injecting integrity into a music dominated by the commercial and superficial.
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