Daredevil Falls is a new project by singer/songwriter Kevin Kimberlin.

Though it’s a new project, Kimberlin has a rich musical background stemming from his time gigging in the 70’s New York City punk/glam rock scene, including opening for bands like The New York Dolls and KISS — where he once traded his Flying V with Paul Stanley, receiving a Les Paul in return that allegedly belonged to John Lennon. He even auditioned with Jimmy Page for Swan Song Records, but was unfortunately passed over for a band called Bad Company.

“I took time to give each song its own unique story”

Tell us, Kevin, how did the project Daredevil Falls come to life?

Kevin Kimberlin: I have been writing, composing, and playing music since the early 1970s. In the years since, I obsessively studied production and orchestration, learned studio equipment, and taught myself how to play many different instruments–all so I could manifest my vision for this album.

With this record, I wanted to create something different that speaks to my generation. Since I didn’t have any time constraints, like the deadline of a tour or a record company launch date, I took time to give each song its own unique story and weaved them into a cohesive drama about the complexities of relationships and how they evolve and survive.

Would you like to take a moment to discuss two of the latest singles ‘Arms of Bliss’ and ‘4,444’?

The song ‘4,444’ finds two people balancing the ups and downs of their relationship and seeking forgiveness, knowing it’s sometimes easier than asking permission. I have asked for a second chance thousands of times for all sorts of mistakes, crudeness, and times I’ve been late for something. So, this is not just about one instance of forgiveness, but rather asking for forgiveness ‘4,444’ times.

There’s an invented chord, unconventional time signatures, interrupting samples of two men arguing, one synthesizer triggering another, and studio wizardry meant to miniaturize the sound of the drum and guitar tones. It’s a sonic tapestry that rewards repeat listens.

‘Arms of Bliss’ tenderly recounts a piece of life-affirming advice that I received as a teenager from my grandmother. I asked her whether I should go to a party or not, and her words stuck with me ever since: “sing and dance while you’re young,” she advised me. That song is a celebration of family too, as all three of my children sing harmonies on the track, and each of them is represented by a growing crescendo of guitar riffs at the finale.

What was the album making process look like and on that note, how do you typically approach songwriting?

I am inspired to express my feelings in a unique yet relatable way. I want to stay fresh creatively so the tunes prick the ear with new sensations. Every song must carry one message. I like to learn new instruments and create new sound effects.

I usually start with a chord progression or riff on the piano or guitar. I jam around with it until I feel a “hook” emerging that might stick in the mind. I record everything.

Once I have a melodic skeleton (hopefully a draft of the chorus and maybe the verse), I will use the mood that is being evoked to guide the lyric development. That gives me some sense of the story that needs to be told or the message that might be conveyed.

Then I do the back and forth between lyrics and melody to reconcile them to the structure. Anything that sounds like something I have heard before gets scratched in favor of the odd or the deviant.

Once all is in palace, I lay down the track in ProTools and start to layer build ups, sound effects, and rhythmic elements. I like to give the other musicians guardrails for their creative contributions.

Then comes the editing and arranging, which takes me forever since I am striving for a self-contained sonic movie. I strive for clear intros, clean endings and a song unlike anything the listener has heard before. It may ring some bells, but I hope that every song is a one-of-a-kind.

Each song tells a different story, would you agree that the album is very biographical?

To some degree, yes. The pervasive theme throughout Daredevil Falls is an honest sharing of real-life experiences, with a particular focus on the trials and tribulations of romantic relationships and attempting to better understand human nature.

What was the experience of recording with Los Angeles producer and bass player Kevin Augunas?

Working with Augunas was a real turning point in shaping the album’s direction. While recording ‘Sail On to Ceylon,’ he sat on the floor, cross-legged with his bass guitar and went into a trance, and came up with this incredibly cool bassline. After listening to the track, he looked at me and said, “We just entered a new dimension with this song.”

That inspired me to try to do that with every song—make every one totally original, a sonic movie with its own atmosphere and make it really meaningful and hopefully say something that has never been said quite that way.

It would be wonderful to discuss your background and influences. You were growing up in Indianapolis, what was the scene for a young guy interested in rock music?

Growing up in Indianapolis, my life was forever changed when I saw Cream on their farewell tour. I bought a cheap guitar, practiced until my fingers bled, and then told my parents that I wanted to briefly delay going to college. I soon joined up with some talented friends, and our newly formed band won a local battle of the bands, which earned us a slot to open the city’s first all-day rock festival.

Were you friends with John Mellencamp? Both of you moved to New York City.

No, but we are both from Indiana and moved to the City around the same time.

You opened for The New York Dolls and Kiss…

I came up during the 1970’s punk/glam rock scene in New York, hanging out with the Ramones and auditioned for Jimmy Page. My band, at the time, opened for The New York Dolls and KISS at the Hotel Diplomat in 1973. KISS frontman Paul Stanley actually traded guitars with me backstage; he swapped a 1957 Gibson Les Paul Sunburst (that he alleged was once owned by John Lennon) for my Gibson Flying V.

Your music was more experimental and that probably caused problems for you playing for a punk audience…

Yes. We definitely played much more complicated, experimental, progressive hard rock material rather than the cynical punk music of that time, so audiences were occasionally hostile to our style.

How did you get in contact with Jimmy Page?

I basically bulldozed my way into a meeting with Led Zeppelin’s lawyer who was impressed enough to set up an audition with Jimmy Page for the band’s new label, Swan Song Records. Unfortunately, Page told us to keep practicing and check back in a year, signing Bad Company instead.

Your career outside the music business is truly outstanding…

Thanks. I do find the creative process for musical experimentation similar to the business of venture creation. With music, you start off with some vague idea—a riff or a motif or feeling—and you try to get it out and put some structure on it. And once you’ve got something with a vibe, you put together a group of people and try to make it work.Then you take the big risk of introducing it to the world.

In terms of the ventures that I have started, we take a complicated technology or science idea and try to understand how it might touch people. It’s exactly the same thing, at a high level of abstraction; a new idea is basically just a riff—you’re banging it around and then you collaborate with a team to pull it together. It doesn’t always work, but every once in a while, you get this magic moment where everybody says, “Oh, my God, we’ve really got something here.” The same thing can happen with a piece of music.

What are some future plans for you?

Hopefully more live shows! This summer I performed for a crowd of 8,000 alongside Rob Mathis in Connecticut at Roger Sherman Baldwin Park; this is definitely one of my favorite outdoor venues–and my children joined me on stage that day. I would also love to play the entire album live.

Thank you. Last word is yours.

Thanks so much for speaking with me today. For those interested, my 14-track debut album, ‘Daredevil Falls’, is available on Spotify, Apple Music, and SoundCloud.

Klemen Breznikar

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