“Good” music, though subjective, often involves the same set of innate responses; One can identify the subtle vibrations, the artful displacement of atmosphere, and free flowing decoration of time that good music is designed to take advantage of. The Canadian producer-duo Intersect has been putting in the consistent and sometimes arduous labor to create their sonic hallmark through music that adheres first and foremost to the groove of it’s audience.

Prior to 2014, Rahj Levinson and Scott Milne had been playing together in various groups for over 15 years, but formed Intersect when they began to focus on the middle ground between dance-fusion music and contemporary bass music. Beginning with their infamous group Wassabi Collective, their combined expertise spans decades of musical and technological development. Using a host of blends that include system music, future bass, trip-hop stylings, and psybient textures, Intersect is more than a musical group; they are a vital piece of the Canadian musical anthology.

In order to flesh out a larger understanding of the Intersect project, The Rust took advantage of a rare opportunity to speak with Rahj Levinson, and explore the meaning of music, Intersect’s time at the world renowned Shambhala festival, and their experience with across their own musical lives.

Alyssa Barnhill: Where are you both from?

Rahj Levinson: [I’m from] Nelson, BC. Scott is from Ontario. The little city of Hamilton, I believe.

Barnhill: Where\How did you two meet?

Levinson: Well, Scott was one of the founding members of the Wassabi Collective. They were in town for a show and I attended. We met in the band hotel room upstairs during a setbreak, I believe. I later went on to join them.

Barnhill: When did you start playing together? When did you start as Intersect?

Levinson: In 2000 we met, then I joined his band in 2005. We have been playing together as Intersect since 2012.

Barnhill: Where does the name Intersect come from?

Levinson: The name just kind of happened. The main idea behind the name was the intersection between playing live music and electronic music. The intersection of those styles of music and performing is what inspired the whole thing.

Barnhill: Where do you live now?

Levinson: We both live in Nelson, BC, just a few blocks away from each other.”

Barnhill: Does living so close help with inspiration?

Levinson: Living close to each other definitely helps with music and inspiration! Being able to meet up at the studio on a whim and just always hanging out talking about music has made it easy to keep inspired and always creating.

Barnhill: Did growing up there effect\change\inspire your music style?

Levinson: I think so, especially around Nelson, it has a very laid back kind of vibe. Genres like pop are not very popular here, it has always been a bit more underground. Alternatively minded hippie mountain town. For the area, Nelson has a very vibrant arts and music scene which is very special and supportive. Also, the outdoor culture here is a big part of our inspiration and goes hand in hand with outdoor festivals like Shambala and dancing.

Barnhill: Do either of you have a technical music background?

Levinson: I was actually homeschooled. My parents were hippies. So I started on guitar and moved to keys because there were always too many guitar players. I started playing guitar when I was very young, I think like 7. I picked up Piano around 2004 and then about five years later I started delving into music production. Started DJing on turntables with vinyl.

Barnhill: Were you classically trained? Is that why you make the music that you do?

Levinson: I started playing in bands first. Classical background I’d say. We like playing soulful, playful, and melodic music. Maybe jam out something in the moment but we have to create music around the dance floor.

Barnhill: What brought you both towards electronic music?

Levinson: To be honest, going to raves back in the day. That feeling of the vibrations dancing to a DJ is universal. I wanted to provide that same energy. That type of atmosphere just isn’t the same as with a live band. We like to focus more on the dance floor, create music for the dancers. Sometimes using an improvised perspective rather than technical. Whatever feels good.

Barnhill: You’re known to have a strong relationship on-stage during your performances; would you care to speak on that?

Levinson: We have been musical partners for so long, there is simply no filter. It's like a family in that way. We just kinda make music together; you could say that it’s our calling.

Barnhill: Where is your favorite place to play?

Levinson: Hands down, Shambala. It's just 45 min from Nelson.

If you’ve been living under a rock for the past 20 years, you may not have heard of the now infamous Canadian grassroots festival. Those that have made the journey describe it as a Mecca of eclectic electronic music; a festival for those seeking refuge from mainstream moments in concert and event production. Intersect’s members not only grew up right down the road from the shades of The Grove; Rahj and Scott have been flourishing there for the past decade. Sharing the limelight with names like The Librarian, Eprom, and Diamond Saints, Intersect has played an integral role in the yearly captivation of a global audience.

Barnhill: Tell me about Shambhala; what began your journey there?

Levinson: I first went to Shambhala in 1999. A lot of my friends were going to this party in the middle of the woods. It was a bush party back then but it has evolved from that into something so beautiful. I have gone religiously since and I have known some of the DJs for like 20-30 years now. It's kind of an extension of parties they used to have before it became a festival.”

Barnhill: What aspect of it do you enjoy most?

Levinson: Recreating that exact experience. Selfishly, I like sharing my music. Playing for them and seeing people happy and dancing is what it is all about for me.

Barnhill: Your latest release features three tracks with different guest artists: “All Ganja” with Mat the Alien, “Melo-sect” with Melo-nade, and the “dub n tripp” remix by L-nix. How did all of that happen during the pandemic?

Levinson: The collab kind of just fell into place. They are all friends of ours, coming to hang out at the studio. It just kinda grew into All Ganja. We were like, “We should do this”, then it all fell into place.

Barnhill: Everyone hates this next question: What genre do you consider your music?

Levinson: Genre is a hard one. Bass oriented music? I think most people try not to pigeon hole themselves with genres but I don't really think about it in that way. Left field bass, maybe?

Barnhill: What genres\music\musicians do you find inspiration from

Levinson: Early on, I would say…. The Dead and Phish were my inspiration to start doing music in the first place. Then I found myself going to raves and festivals and found a lot of inspiration there. People like Bonobo, Amon Tobin, some early dubstep producers, Vibe Squad, Sizzla, and a bunch of reggae and dancehall sound system stuff.

Barnhill: Are there other shows and festivals that stand out to you?

Levinson: Shambhala [is the] top of my list. It has such a vibrant music scene. But normally there are more fests than you can even play. The summer here revolves around Shambs. Depends on the dates but we try for as many as we can. Club Bloom, Shambhala’s dedicated nightclub, is our home turf too.

Barnhill: What influences the design of your sets? Is there a motif you're trying to achieve during your performances?

Levinson: Yeah, I think so. We always try and craft our sets to take people on a journey and tell a sort of musical story. It's all about the flow. We are definitely drawn towards psychedelic elements in our sets and music.

Barnhill: What are your goals and aspirations for the future of the Intersect project?

Levinson: Right now, we are working on fishing up the newest EP, as well as looking forward to going and playing shows again.

From their first EP, Push If You Like in 2014, to the throwback stylings of Vibe Setter in 2018, this dynamic duo is infinitely impassioned with clarity and musical consciousness. Years of sonic service to their homegrown communities has left with the indelible ability to weave a crowd through a powerful auditory experience. With the release of the All Ganja, and subsequently Better Days EP’s, the yIntersect catalog is stronger than ever, and their influence has officially moved beyond the 49th parallel.

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