Max Cossu (alias Deadphonecalls)  , decided to start his own project a few years ago, but only released his first album – Calls to the dead phone – in 2014. After the two dance singles released along with Mel Project  –  Black Day (2001) and Whistle’s Song (2002), and after several years spent as a drummer, playing blues-rock-pop cover songs in various bands in Italy and Czech Republic, Max decided to devote himself entirely to the composition and the development of his own project.



The acronym DPC, “Dead Phone Calls” – has been borrowed from the so-called phenomenon “Phone calls from the dead”, in which people literally receive phone calls from a deceased person. Today it is a fairly common phenomenon and has inspired several books and magazines catering to the followers of this kind of event and by the “EVP – Electronic Voice Phenomena”.

“I don’t know if I can consider myself a true artist , but for sure I can consider myself someone who tries to grab the vibrations of other unknown dimensions and tries to organize it in music. I am fascinated by unusual and strange phenomena, by the unknown universes, the unsolved mysteries and by everything that was simply “strange”.

So, I started when I was a very young boy to read and show an interest in ghost stories and mystery tales, and in general in everything that was beyond the “rational “ interpretation of real, or which cannot be explained just through a scientific truth or an empirical or mathematical approach.

Dead Phone Calls -  Photo 105I started to paint when I was a child, but my imagination was always grabbed by the sounds and noises, of any kind. The sounds have always been the frame of my life. Sounds organized in any kind of music, or sounds by themselves, it made no difference to me. That’s why I’ve always thought that a musical instrument is not just a device designed to produce some specific musical notes, but is whatever is able to produce a generic noise or vibration. This is the reason why I could be equally attracted by a symphony of 100 elements, or by the sound produced by the boiler, or by the noise of the drop that falls incessantly from the open tap, but perfectly synchronized as a metronome. I could feel every sound I perceived so sharp and piercing, and any sound has always had the power to penetrate into my mind and stay there for days, sometimes for months and even for years.

When this simple attraction became a real passion (as music and sounds did) , in a very short time it became also pure obsession. I started to play drums, and I’ve played drums for many years, attracted by both the playful and wild side of this instrument at the same time. Later, the passion for synthesizers started to grow. I was attracted by the infinite possibility to create and edit any kind of sound in a creative way.

This is the reason why this passion-obsession for music and sounds and, at the same time, a deep interest in mysticism and spiritual topics, led me toward a sound idea that is rooted in the surreal and in the depths of the unconscious, and finds its own meaning in a dreamlike mind condition”.