Who Produced The Xxxtentacion Changes Remix?

I've chased down release dates and catalog listings for this one, and here's the clearest take I could piece together. 'Changes' originally appears on XXXTentacion's album '?', which was released March 16, 2018, so the base track's wide release is pinned there. There never was a widely distributed, label-backed 'official' remix of 'Changes' that showed up on major streaming services as a separate, sanctioned release. What did happen instead is that after his passing, a bunch of unofficial remixes, edits, and collabs popped up across SoundCloud, YouTube, and fan channels throughout mid-to-late 2018 and beyond—people sliced the vocal, layered new production, or paired X's vocals with other artists in fan edits. If you’re hunting for a specific remix upload, the upload dates will vary by creator and platform; you'll often find those fan remixes clustered in the months after June 2018. For the canonical record: the album release (and therefore the original track's mainstream release) is March 16, 2018, and there isn’t an official remix release from his label that’s recognized across the streaming catalogs. Personally, I find those fan-made versions interesting for hearing creative spins, even if they’re not 'official'—some of them genuinely reframe the song in cool ways, so I still bop to a few of them now and then.

I dug into this because 'changes' is one of those songs that sticks with you, and the version people often point to when they say "remix" is the one that brings PnB Rock into the mix. The widely circulated, official remix of 'changes' features PnB Rock adding his melodic hook and harmonies, which shifts the mood from the raw, intimate original toward something a little more glossy and duet-like. I like how his voice layers over X's melancholic delivery — it feels like a conversation rather than a solo confession. That said, the world around 'changes' is full of unofficial reworks and mashups. On YouTube and SoundCloud you'll find tribute remixes and fan edits pairing X with artists like Juice WRLD, Lil Peep, or Trippie Redd; those are usually created by producers or other fans and aren’t official releases. Some DJs have remixed the instrumental, slowed it down, or pitched it to create new vibes. If you want the canonical collaboration, look for the PnB Rock feature. Personally, I think that remix highlights how adaptable the song is — it survives different production choices and still hits hard, which is why people keep remixing it in the first place.

I'm leaning toward a cautious yes — but only if the remix appeared on official channels with the estate and label credits. When I look at how posthumous releases for 'Changes' have been handled, everything that landed on Spotify, Apple Music, or YouTube under XXXTentacion's artist page and carried a Bad Vibes Forever or Empire Distribution credit went through the estate and label. Those are the releases that count as authorized: they come with publishing clearances, label metadata, and usually a press notice or official playlisting. If a remix popped up on a random SoundCloud account or a YouTube channel without those credits, that one probably wasn't authorized. To make that call in practice I check three things: (1) is it hosted on the main streaming services under X's profile, (2) what label/publisher is listed in the track info, and (3) did the estate or label post about it? For 'Changes' specifically, the official remixes or reworks that made their way to major platforms carried those markers. Unauthorized remixes often circulate among DJs or fan uploads, and they can look legit at a glance but legally they’re different animals. Personally, I get protective about posthumous edits — I want the artist's vision respected. If the label and estate signed off, I’m more comfortable saying it was authorized; if it’s floating around on niche uploaders with no credits, I treat it as unofficial and keep my skepticism. It’s complicated, but those checks usually tell the story for me.

I get excited just thinking about tracking down legit remixes, so here's how I handle the hunt for the 'Changes' remix and where you can stream it legally. The easiest route is the major subscription services: Spotify, Apple Music, Tidal, Amazon Music, and YouTube Music commonly carry official remixes if the estate or label has released them. Search for 'Changes (Remix)' or check XXXTentacion’s verified artist profile — official releases usually live on the artist page and are tagged clearly as remixes. I usually save a copy to my library and look at the release credits to confirm it’s an authorized version rather than a fan edit. If you prefer video-first listening, check the official YouTube channel or Vevo upload; those are frequently the most reliable legal sources and often include lyrics in the description or links to buy. SoundCloud occasionally hosts sanctioned remixes or promo versions, but availability varies by region and by whether the rights holders approved the upload. For permanent ownership, buying the track on iTunes/Apple Music or Amazon MP3 is the safest legal option — you get the file and the peace of mind that the artist and rights holders are being supported. Personally, I like using Tidal or Apple Music when I want high-fidelity listens, and I’ll cross-reference with the official YouTube upload for a quick watchable version. That remix still hits me in the chest on late-night playlists.

I still get chills talking about how a remix can totally flip the mood of a song, and the way the 'changes' remix does that is such a love-it-or-lean-into-it moment for me. The original 'changes' is spare and intimate: mostly piano, quiet drums or just the pulse, and X's voice up front, fragile and close. The remix, depending on which version you hear, layers in more production — heavier low end, subtle synth pads, and sometimes a new percussion pattern that gives the track a slightly steadier tempo. That shift in instrumentation moves the song from a whisper to something that breathes a little bigger without killing the tenderness. Beyond production, the remix often introduces added vocal textures. Sometimes there are background harmonies, doubled vocals, or a featured verse from another artist who contrasts with X's melancholic delivery. That change in vocal arrangement can alter the emotional arc: where the original feels like a private confessional, the remix can feel like a conversation or even a communal lament. Mixing and mastering choices matter too — the remix usually brings a brighter sheen, clearer bass, and more present midrange so the hook hits differently on headphones and in car speakers. What I love about both versions is that they highlight different strengths. The original showcases raw intimacy and lyrical vulnerability, while the remix experiments with dynamics and collaboration, making the same melody feel broader and, in some cases, more radio-friendly. Personally, I flip between them depending on my mood — late-night reflection for the original, and a daytime, slightly more energetic mood for the remix.

This one’s a little messier than you might expect because 'Chase Me' is a very common song title across genres, so the short version is: it depends which 'Chase Me' you mean. I’ve chased down these kinds of questions before, so here’s how I slice it up and what to look for when hunting the official remix producers. First, identify the exact original: the artist, the release date, and the label. Once you have that, check the single/EP’s release page on streaming services—Spotify sometimes shows credits, Apple Music can list producers and remixers, and Tidal is great for detailed credits. For electronic tracks, Beatport often lists official remixers on release pages. Labels and artist YouTube channels are also prime sources; official remix uploads usually include the remixer/producer in the description. Discogs is invaluable for historical releases and will often list every credited remixer on a physical or digital release. If you want a practical example of the process: find the single’s release on Discogs or the label site, then look for the track labeled '(Remix)' or a remix pack; the remixer is usually credited as 'Remix by' or 'Remixed by' and that person is the producer of the remix. Performing-rights databases like ASCAP/BMI can also show alternate versions and who’s credited. Using those steps will get you the exact producers for the specific 'Chase Me' you’re thinking of — I love digging through credits like this, it’s like detective work and always rewarding when you find a cool remixer you didn’t know about.

Late-night laptop, a pair of cheap headphones, and that iconic line 'Zankoku na tenshi no you ni' playing on repeat — that's how I usually start experimenting. For most remixes of 'A Cruel Angel's Thesis', the first practical step is getting a clean vocal. Producers either use official stems (if available), fan-shared acapellas, or extract vocals with tools like iZotope RX, Spleeter, or Demucs. Those isolation tools aren’t perfect so I always expect to do extra cleanup: spectral repair for sibilance, careful EQ to remove bleed, and sometimes a little manual editing to fix artifacts. Once I have a usable vocal, it's about tempo and feel. I warp the vocal to the new BPM in my DAW (Ableton or FL Studio) while preserving formants so the singer still sounds natural. Melodyne or Auto-Tune helps if I want tighter pitch control, and formant shifting can give the voice a younger or older timbre without sounding robotic. From there I slice phrases, create stutters, reverse tiny bits for texture, and layer harmonies—either by duplicating and detuning the vocal or by resampling to make choir pads. Granular plugins, vocoders, and spectral morphing are my go-to for futuristic textures. Mixing-wise, multiband compression, sidechain to the kick, reverb/delay tails, and automation are what make those lyric edits sit in the mix. For mashups or lyrical rearrangements, I retime syllables so they land with the beat, sometimes rewriting lines to match the new groove or even blending translated lines for flavor. I always test on different speakers and tweak until the emotion of the original melody survives, even through heavy processing. At the end I tag the remix, credit sources, and if it’s for public release I check licensing — respecting the song matters as much as having fun with it.

The 'You're Gone and I Gotta Stay High Remix' is a collaboration that really resonates with so many fans, and I can't help but appreciate the energy it brings. First off, the original track was by the incredibly talented Brit pop band, Maroon 5. Now, when it comes to the remix, we need to give some love to the phenomenal DJ and producer, Borgeous, who worked his magic to give this song a new twist. It's such a vibrant blend of upbeat tempos and catchy hooks that make it super easy to have on repeat in any playlist. What I find fascinating is how different the remix feels compared to the original. Borgeous injected that dance vibe while still keeping the spirit of the original lyrics alive. You can truly feel the excitement that comes with discovering a track that not only pulls at your heartstrings but makes you want to move! Maroon 5's soulful vibe combined with Borgeous's dance beats is just an unforgettable experience overall. It really showcases how remixes can breathe new life into songs we already love, don’t you think?

Totally into this little music trivia — the version of 'Elastic Heart' that features The Weeknd was produced by Diplo (Thomas Wesley Pentz). That collaboration originally appeared on the soundtrack for 'The Hunger Games: Catching Fire' in 2013 and is the version where The Weeknd provides guest vocals alongside Sia, while Diplo handled the beat and production fingerprints that give it a more electronic/club-leaning texture. What trips people up is that 'Elastic Heart' actually exists in a couple of well-known forms. The Diplo-featuring cut (with The Weeknd) was the earlier soundtrack release and has that heavy Diplo electronic touch. Sia later released a solo reworked version on her 2014 album '1000 Forms of Fear' — that one has a different production vibe and is associated with producer Greg Kurstin, who also produced big Sia singles like 'Chandelier'. So if you hear the stripped, anthemic version with the famous video starring Maddie Ziegler and Shia LaBeouf, you’re hearing the Greg Kurstin-produced solo single; if you’re listening to the darker, more beat-driven track with The Weeknd’s vocals, that’s the Diplo-produced soundtrack cut. I always find it fascinating how one song can live in two different worlds depending on production and collaborators. The Weeknd’s contribution on the Diplo version gives it a smoky, nocturnal feel that meshes with Diplo’s club-oriented touches, while Sia’s solo take becomes this huge emotional pop ballad under Kurstin’s production. For anyone tracing credits, Diplo is the producer to name for The Weeknd’s version; Greg Kurstin is the name tied to Sia’s later solo single. It’s a neat example of how producers can totally reframe a song’s personality, and I still get a kick out of comparing the two — each one brings its own kind of intensity.

The smash hit 'Problem' by Iggy Azalea is produced by the talented duo known as The Invisible Men and DJ Mustard. You can really feel their combined prowess in the track, creating this infectious energy that just makes you want to move. I first heard it on the radio, and I couldn’t help but groove along. It became a summer anthem for me and my friends, blasting it at beach parties and road trips. It was fascinating to see how it topped charts in various countries, proving that Iggy really hit the mark with her unique style. What’s interesting is how the production blends elements of pop and hip-hop, which contributed to its massive appeal. The Invisible Men have worked on songs for various artists and carved a niche for themselves with catchy hooks, while DJ Mustard is known for shaping the West Coast sound. It’s no wonder that when you combine their skills, you get something that resonates well in the mainstream. It’s just one of those tracks that, even years later, you can still hear people singing along to the chorus. I guess that’s the magic of a well-produced song!