Even if you haven't heard the name Joshua Craig Podolsky, chances are if you're into dark and extreme music you've heard his work. I mean this dude's mark is everywhere: his guitar wizardry, production skills and distinctive style have enhanced many high-profile projects – from his days with the band Motograter to his respected studio work with members of Metallica, KISS, Fear Factory, White Zombie, Rob Halford, Powerman 5000, Testament, CKY and tons more. He's even a writer and music instructor, which must mean he's figured out a way to warp time & space to get all that stuff accomplished. So when I found out he'd joined forces with legendary bassist David Ellefson (who's now officially back with Megadeth after a long absence) for a dark, unique and personal project of his own, I kinda knew it would be worth looking into... and with the arrival of The Alien Blakk's second full-length album Bekoming (due for release next month), I knew I had stumbled upon something amazing.

Flip the page for an in-depth interview with Joshua, who told us how he faced his inner demons and returned with a chilling story of pain, rage, redemption and maybe even a glimmer of hope, all summed up in one superb album. Plus, he’s got conclusive proof that Star Wars is totally metal…

FEARnet: Bekoming is clearly a very personal project... did you set out with the intention of writing such a soul-baring album, or did it evolve into that over time?

JOSHUA: The album evolved. I originally was writing two or three bonus tracks as a special re-release situation for [debut album] Modes of Alienation. I could not stop writing and recording, though! I was going to sing on one or two songs only… I used to sing in my prior few situations, so I had a unique approach, so I thought I would take a stab here as well. When the original label [Rotten Records] heard the vocal tracks, they were supportive of me doing more, so I altered my approach with confidence. I ended up writing such mood-oriented music that it took a lot longer to complete the situation… It took so long to express what I was feeling [that] I had to buy back the music from the label! It still took over two more years to complete, until I felt I had said what I was trying to say.

You're exploring very dark places in the music and lyrics, but by the end I was surprised to find it didn't feel pessimistic. I get the impression that you've faced the darkness and embraced it to survive... but there's still a big unknown ahead. Would you say that's on the mark?

I would say you are 100% correct; your ear did not mislead you. I have done some extremely dark and bizarre things to myself over the years…. a lot I had no idea were so unruly until I had enough sense and time to reflect. I’m older and more mature now, still not 100% there, but working on it! If I hadn’t admitted to myself the problems I was facing and challenged them head-on with force – or "the force" – I would never have finished this recording. I was fine with that, though... I’ve taken responsibility for my actions through this work. The unknown will find me, as it does with all of us. The uncertainty will keep me on my toes for the next situation.

The title track is dark and chilling, but it also has an undertone of sadness. Was it a challenge to compose the "dream-dialogue" between you and your father?

I only had a challenge during the editing part of the bass section in the middle of the track… that was the foundation for where that "dream-dialogue” and orchestration sequence is, so it had to be special. It was sad to record, as I had to get something out of me that was lying dormant for so long, so I appreciate the fact that music can allow you to express in such a true manner. The music basically talks from my father’s perspective and asks questions that I feel my dad would have wanted to know the answers to. I answered with honesty the best I could for where I was at in life.

That track has some of the scariest low riffs I've ever heard…

The tuning is low G flat and the guitars were specially built and tuned for me by Paul Reed Smith. We’re working on them coming out commercially now because they liked the designs we came up with together.

Of course, getting Mark Hamill to take on the father role was a sweet move.

Mark makes a picture-perfect impression of what he was conveying… to a T.
 
By the way, I heard about another Star Wars connection... you’ve been onstage with Carrie Fisher?

I was asked to come up on stage by Carrie herself while in the audience at her show Wishful Drinking. Out of twelve hundred people at a sold-out performance on Broadway, she asked for the house lights and said, "The guy with the hair, get up here!" It was awesome!

What did she ask you to do?

I assisted her with a Star Wars-themed skit and got to kiss her… on Broadway, in front of a sold-out crowd! I told her afterwards I’d worked with Mark as well, and she thought that was cool. She took a picture with she and I both wearing Princess Leia wigs, and then during the beginning of the second act gave me an autographed pair of leopard-covered handcuffs and kept referring to me throughout the rest of the act from stage!

Man, I’m jealous…

I’m the biggest Star Wars fan… and have now worked with the two most important Jedi!

When I heard Runnin’ Down a Dream, I realized that the main riff from the original is actually perfect for metal.

You nailed it! I always liked that riff and knew it had the potential to be a lot more heavy.

The song’s also a great fit for the record's theme...

I personalized the lyrical approach a bit more, to make [it] suitable for the theme of the album, so it now sits in there as if it was always meant to be part of this collection of music.

It totally works. And the acoustic piece at the end seems to embody that element of hope... who’s the "Ann" of the title?

Ann is my mother.

What’s her role in the Bekoming story?

The story ends where it all began. It’s through her that my search continues to inspire me to do better and find the truth about why I am here. It is hope, it’s all I have.

I really like your use of baritone guitar, which to me isn't just a way of getting down to super-low tunings, but also gives the music a more profound feeling. Would you consider that part of your “signature” sound now?

The baritone was first used in Motograter… I never used one before I was given that gig. Now, it has become an integral and mainstay in my sound, yes. It’s an element to continue from the guitar work I do, but allows the records I do to have a more symmetrical sound. I only use it on a third or so of the record, so the tuning of those songs sits differently mood-wise from the other pieces.

Did David Ellefson's recent re-teaming with Megadeth have any impact on the completion of the new album?

No, the CD was completed 6 months ago, and he’s doing the Megadeth situation as of a week ago.

Will David continue to be a part of Alien Blakk going forward?

David will always be part of The Alien Blakk, yes. We’re working on European dates post his Megadeth work this year.

Glad to hear that. So, since you deal with a lot of dark and horrific themes in your work, have you ever turned to horror movies, books or other media for inspiration?

My life has enough horror! [laughs] Why turn anywhere else? All you have is what you need… you just need to unlock it, as a great director like Wes Craven would, is all. Your inner mind and inspiration can never lead you astray if paid attention to.

I take it Wes is one of your favorite filmmakers, then?

I’m a true fan of A Nightmare on Elm Street, due to the humor and dream-themed events that can consume so overwhelmingly in the mind. It makes you think, to be aware after watching, and also laugh a bit. The scene [in Dream Warriors] with Freddy and the needles – with the junkie girl – is my favorite funny moment, actually. I was rolling when I saw that reference coming from him!

What are your thoughts about the upcoming Elm Street remake?

I am definitely looking forward to the remake. It’ll be one of the first movies I will have seen [both] in original form and have been around long enough to see reworked for a new generation. That’s a true testament to the validity of that film.

Apart from nightmares on film, I also like to know how artists explore their own personal fears through their art. Beyond what you’ve already examined, what would you consider your greatest fear?

My greatest fear? Probably cockroaches… or attractive girls with offensive breath.

Whoa. Sounds like nightmare fuel to me. Probably not worthy of a song, though.

They’re far too dark of subjects to be explored!

Fair enough.

Bekoming is scheduled for release on April 6th, and in the meantime I recommend checking out some sample tracks (including the epic-length title cut with Mark Hamill) on The Alien Blakk website or MySpace. Be sure to check this record out: it's super-low, mega-heavy and seriously thought-provoking, and will shake you up in more ways than one... plus Hamill's contribution kicks major ass, assuring the Son of Skywalker a place in heavy music history, and surely helping to make Bekoming one of the most memorable metal records to come out this year.