Rikard From – Saw It On The Radio: A Nordic Noir Reinterpretation of a De-Phazz Classic

There is a delightful irony in the title “Saw It On The Radio.” It suggests a crossing of senses—a synesthetic experience where sound creates images so vivid they become visible. This paradox was central to the original track by the German downtempo legends De-Phazz, a group known for their witty, sample-heavy commentary on pop culture and media consumption. Their version was cool, detached, and rhythmically driving.

But what happens when you strip away the electronic beat, the vocal samples, and the ironic distance? You are left with a melody that is surprisingly vulnerable. In his breathtaking new release, Swedish pianist Rikard From takes this Nu-Jazz staple and filters it through the lens of Nordic Noir. Released as part of the De-Phazz Presents Octaves project on Klangspot Nu Jazzical, this cover transforms a song about media overload into a quiet meditation on memory and solitude.

The Art of Subtraction: Finding the Ghost in the Machine

The Octaves project challenges pianists to reimagine the De-Phazz catalog, but Rikard From does more than just play the notes; he excavates the song. The original “Saw It On The Radio” was built on the “Cut & Paste” aesthetic of the late 90s—a collage of sounds designed to keep the listener entertained.

Rikard From approaches the composition with a philosophy of subtraction. He slows the tempo down significantly, turning a groove into a ballad. By removing the rigid grid of the drum machine, he introduces a sense of Rubato—a rhythmic freedom where the music breathes, pauses, and rushes like a conversation.

• Harmonic Recontextualization: While the original relied on a repetitive loop, From explores the vertical depth of the chords. He uses the sustain pedal to let harmonies bleed into one another, creating a “wash” of sound that feels less like a radio jingle and more like a cinematic score for a film that hasn’t been made yet.

Production Aesthetics: The “Imperfect” Upright Piano

In the world of high-fidelity streaming, there is often a race towards perfection—pristine digital pianos that sound exactly the same in every register. Rikard From, however, champions the aesthetic of the Character Piano.

For this recording, the listener is treated to the distinct sound of an Acoustic Upright Piano, likely modified with a felt moderator rail. This production choice is crucial for the emotional weight of the track.

• Mechanical Intimacy: If you listen with high-quality headphones, the production reveals the physical reality of the instrument. You can hear the wooden creak of the action, the soft “thud” of the hammers hitting the felt, and the release of the dampers. These are often called “artifacts” in audio engineering, but here, they are the stars of the show.

• Why this matters for SEO/Search: Audiophiles and producers often search for “felt piano techniques” or “authentic upright sounds.” This track is a masterclass in Close-Miking. By placing the microphones deep inside the piano casing (rather than a few feet away), the recording captures the “micro-dynamics” of the performance. It feels as though the listener is sitting inside the piano. This proximity creates a psychological effect of extreme intimacy, breaking down the barrier between the artist and the audience.

The Nordic Sound: Melancholy as a Comfort

Rikard From hails from Sweden, and it is impossible to divorce his playing style from his geography. The “Nordic Sound” in jazz and neoclassical music is defined by a specific quality: Melancholy. But this isn’t sadness in a negative sense; it is a comforting, reflective state often associated with the long, dark winters of Scandinavia.

In “Saw It On The Radio,” From leans into this aesthetic. He utilizes the lower registers of the piano, grounding the melody in deep, resonant bass notes that evoke the vastness of a frozen landscape.

• The “Space” Between Notes: A defining characteristic of this cover is the use of silence. In the original De-Phazz track, every frequency was filled with information. From is unafraid to let a note decay into nothingness before playing the next one. This use of negative space allows the listener’s mind to wander, filling in the gaps with their own thoughts and memories.

De-Phazz Presents Octaves: A Cultural Bridge

This release is a standout moment in the De-Phazz Presents Octaves series. The project itself is a fascinating cultural experiment, bridging the gap between the “Lounge/Chillout” boom of the 2000s and the “Focus/Neoclassical” boom of the 2020s.

“Saw It On The Radio” serves as a perfect example of how flexible good songwriting can be.

• The Era of Cool vs. The Era of Feeling: The original De-Phazz era was defined by “coolness”—a certain emotional distance. The current era, dominated by Neoclassical piano, is defined by “feeling”—a desire for raw, unpolished emotion. Rikard From successfully drags the song across this timeline. He proves that beneath the cool exterior of De-Phazz’s electronic wizardry, there was always a beating heart waiting to be uncovered.

The Psychoacoustics of Nostalgia

Why does this track feel so nostalgic, even if you’ve never heard the original? The answer lies in the frequency response and the playing style.

• Warmth over Brightness: The production rolls off the harsh high frequencies (above 10kHz). Psychoacoustically, “warm” and “dark” sounds are associated with the past (think of old vinyl or cassette tapes), while “bright” sounds represent the present or future. By voicing the piano darkly, Rikard From triggers a subconscious “memory mode” in the brain.

• The “Lullaby” Effect: The slow, steady left-hand arpeggios mimic a rocking motion. This activates the parasympathetic nervous system, lowering heart rate and signaling safety. It transforms the “Radio” from a source of noise into a source of comfort.

Conclusion: A Tune for the Twilight Hours

“Saw It On The Radio” by Rikard From is a transformative piece of music. It takes a track designed for a crowded lounge bar and repurposes it for a solitary walk in the snow. It captures the essence of the Klangspot Nu Jazzical mission: to find the jazz soul within modern classical structures.

Whether you are a longtime fan of De-Phazz curious to hear a favorite tune deconstructed, or a devotee of the “Nordic Noir” piano sound looking for your next obsession, this track delivers. It is a reminder that sometimes, the most beautiful things on the radio are the ones that make you stop, close your eyes, and simply listen.