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

There is an irony in the title “Saw It On The Radio.” It brings sight and sound together, as if a radio broadcast could leave a visual trace. That tension is already present in the original by German downtempo group De-Phazz. Their version is cool, sample-led, and driven by a steady electronic pulse, with parts of the melody tucked into the arrangement.

Remove the beat, vocal samples, and detached delivery, and the melody becomes unexpectedly bare. Swedish pianist Rikard From recasts the De-Phazz song as a quieter, darker piano piece with qualities often associated with Nordic Noir. Released through the De-Phazz Presents Octaves project on Klangspot Nu Jazzical, the cover turns a song about media noise into an intimate listen for late-night listening, memory, and solitude.

How does Rikard From reinterpret 'Saw It On The Radio' through subtraction?

The Octaves project invites pianists to reinterpret the De-Phazz catalog. From does not simply transfer notes from an electronic arrangement to the keyboard. He takes the song apart and decides what must remain. The original “Saw It On The Radio” uses a late-1990s cut-and-paste approach, packing loops, samples, and rhythm into a compact pop collage.

From works through subtraction. He slows the tempo and turns the groove into a piano ballad. Without the drum machine’s fixed pulse, the performance uses rubato: it waits, pauses, then moves forward like an unhurried conversation. The melody can bend around the harmony rather than landing on every beat.

• The original depends on a repeating loop, while From gives more attention to the chord changes. He holds the sustain pedal so harmonies blur into one another and form a soft wash of sound. This De-Phazz piano cover can feel closer to a restrained film score than a radio jingle, although the song’s simple hook remains recognizable.

What kind of piano sound and recording technique does Rikard From use?

Streaming releases often favour polished, uniform piano tones. From takes a different route. He uses a character piano and leaves the instrument’s uneven details in the recording. One note may carry more grain than the next. The piano is not smoothed away by studio polish.

This recording uses an acoustic upright piano, possibly with a felt moderator rail. That choice gives the track much of its closeness and weight. Rather than the broad, glossy sound of a concert grand, the upright has a contained tone that suits the slow arrangement.

• With headphones, the instrument’s mechanics are easy to hear: the wood of the action, the muted thud of hammers on felt, and dampers lifting from the strings. Audio engineers may call these sounds “artifacts,” but they give the performance a physical presence. You hear someone pressing keys on an actual instrument rather than triggering a pristine piano sample.

• Listeners interested in felt-piano techniques or natural upright-piano recordings may notice the close microphone placement. The microphones seem to sit near the piano’s inner workings rather than at a distance, allowing small changes in touch and dynamics to come through clearly. The effect can resemble sitting beside the instrument, almost inside its casing. It is an appealing sound, though listeners seeking a bright, open classical piano tone may find it deliberately muted.

How does Rikard From's playing style create melancholy and space in 'Saw It On The Radio'?

From is Swedish, though geography alone does not explain a musician’s style. His playing nevertheless sits comfortably beside a familiar strain of Nordic jazz and neoclassical piano music: restrained, spacious, and melancholy. This is not despair. The mood is calm and reflective, like the low light of a Scandinavian winter afternoon or a long evening after the room has gone quiet.

In “Saw It On The Radio,” From uses the piano’s lower register to support the melody. The bass notes are deep and resonant, giving the arrangement a cool, open character. He does not force the melody toward a dramatic peak. Its effect comes from patience and from the contrast between the low notes and the fragile upper register.

• Silence matters as much as the notes. The De-Phazz original fills much of the frequency range with information. From lets tones decay before continuing. These pauses give each phrase time to settle and alter the song’s pace without changing its melody. The empty space is part of the arrangement, not a gap that needs filling.

De-Phazz presents Octaves

This release belongs to the De-Phazz Presents Octaves series. The project brings material associated with 2000s lounge, downtempo, and chillout music into contact with the piano-centred neoclassical sound heard across many current instrumental releases. The comparison is more revealing than it first seems, because both styles rely on atmosphere while reaching it by very different means.

“Saw It On The Radio” shows that the songwriting survives a major shift in texture. Once the samples and rhythm are removed, the chord movement and melodic shape must carry the piece on their own. Here, they do.

• The De-Phazz original keeps an emotional distance through electronic production and a playful surface. From’s version is more direct. He finds tenderness beneath the beat and samples, though the change will not suit everyone. Listeners who prefer the original’s sly, lightly ironic energy may miss its rhythmic snap and collage-like detail.

Why it can feel nostalgic

The track can feel nostalgic even for listeners who do not know the original De-Phazz recording. Its frequency response, close-miked upright-piano sound, and slow phrasing all contribute to that impression. The nostalgia is less about a specific decade than the sense of hearing music in a private room.

• The production softens the sharper high frequencies, especially above 10kHz. Many people associate darker, warmer recordings with vinyl, cassette, and older playback systems. The piano’s subdued voicing encourages that association without becoming retro imitation. It sounds current, but does not chase the glassy brightness common in many modern piano recordings.

• The slow left-hand arpeggios have a rocking motion similar to a lullaby. They make the arrangement feel settled and gentle, turning the “radio” in the title from a source of noise into something quieter. The repetition gives the listener somewhere to return to while the right hand lets the melody drift.

What makes 'Saw It On The Radio' by Rikard From suitable for solitary listening and twilight hours?

“Saw It On The Radio” by Rikard From takes a track built for a lounge setting and reshapes it for solitary listening. It also fits the approach of Klangspot Nu Jazzical, where jazz-inflected material meets modern classical piano. The result is a sparse, dark-toned interpretation that trusts the melody enough to leave it exposed.

Fans of De-Phazz may enjoy hearing the song reduced to its melodic core. Listeners drawn to felt piano, Nordic jazz, and quiet neoclassical piano may respond to it for different reasons. From lets the final notes fade rather than rushing to fill the silence, and that restraint gives this cover its particular mood.