Is there a sped up version? The sauvachi alternate-versions index

August 24, 2026 · sauvachi

Five of sauvachi's 37 releases ship more than one version of the same song. Everything else is a single version, or a multi-track release where the extra tracks are different songs, not edits. This page is the index. It is maintained — if a future release carries a sped up or slowed edit, it gets added here, and if a release is not on this list, there is no official alternate version of it.

The index

Version names below are written exactly as they appear on the release, punctuation and capitalisation included, because that is what you will be searching against.

  • Again (19 July 2026, single) — Again / Again (sped up) / Again (slowed + reverb)
  • Lessons, with psydfx (3 July 2026, single) — Lessons / Lessons (Slowed + Reverb). No sped up version.
  • On My Way (3 April 2026, single) — On My Way / On My Way (sped up) / On My Way (slowed + reverb)
  • Can't Complain, with Shameone (26 February 2026, single) — Can't Complain / Can't Complain - sped up / Can't Complain - slowed + reverb
  • HOLD UP, w/ Sadra (11 December 2025, single) — HOLD UP / HOLD UP (sped up) / HOLD UP (slowed + reverb)

That is the whole list. Four of the five carry a matched pair — one faster, one slower. Lessons carries only the slowed edit.

Multi-track releases that are not alternate versions

This is where searches go wrong. Several sauvachi releases have more than one track on them, which makes them look like they might contain edits. They don't — the extra tracks are separate songs.

  • LOST N FOUND (5 February 2026, EP) — six distinct songs: PERC SAVAGE, KATANA, CYCLES, HIT AFTER HIT, TIME GO, PRETTY FACE.
  • CHOICES (28 August 2025) — three distinct songs: TUSS (feat. NST), MISTAKES (feat. MJ 4hunna), CALL YOUR PHONE.
  • LOADING (13 February 2025) — three distinct songs: HULKS, WHATS THE MEANING, MORE.
  • Omnivert (31 October 2024) — two distinct songs: Cool Kids, The Color Blue.

One genuine exception sits in the middle of that group. FLICKY (31 October 2025) contains FLICKY and 4 BRICKS DOWN (feat. Augxst & NST). There is also a standalone 4 BRICKS DOWN single from 18 September 2025, credited to sauvachi & Augxst. Those are two different cuts of the same song, and the credit tells you which one you have: if NST is on the feature line, it is the FLICKY version.

Remixes are a separate category

Two releases in the catalogue are remixes in the proper sense — a new version of somebody else's record, not a tempo edit of one of mine:

  • To Kojayi (Remix) — Youngka & sauvachi, 19 March 2026.
  • Горят желанием (Remix) — ITHEN, sauvachi, 17 April 2026.

If you are looking for what actually changes when you take a verse onto a record whose vocal is not in English, the post on remixing across languages goes through the phrasing problem in detail. It is not the same job as making a sped up edit, and it should never be filed under the same tag.

Why the version names don't match each other

Look at the index again and you can see the inconsistency. Again (sped up) uses parentheses and lower case. Lessons (Slowed + Reverb) uses parentheses and title case. Can't Complain - sped up uses a hyphen. All three are live, all three are correct as delivered, and none of them can be quietly rewritten after the fact without the distributor pushing a metadata update through every store.

This matters more than it looks. Most streaming services treat the text after the song title as a version tag, and they use it to decide whether two recordings are the same work displayed together or two unrelated entries in a search result. A parenthetical tag is the convention most services expect. A hyphen-suffixed one usually still resolves, but it is more likely to render as part of the title itself, which is why Can't Complain - sped up reads slightly differently in a search box than HOLD UP (sped up) does. Conventions differ by service and by distributor, so the safe move is to pick one format on day one and never deviate.

Each version is also its own recording with its own ISRC. It accrues its own play counts, its own royalty line and its own placement history. A sped up edit that catches on is not topping up the original's numbers — it is building a second set. That is worth knowing before you assume the parent song underperformed.

The other practical rule: put the edits on the same release as the original rather than uploading them as separate singles. One release page, one link, one set of saves. Splitting them across three releases fragments everything and gives a listener three chances to land on the version they weren't looking for.

Why they exist at all

A slowed + reverb edit is not a lesser copy of a song. It is a different song at the same tempo of attention. Drop the rate and the consonants get soft, the ad-libs sit further back, the low end thickens, and a record that was pushing at you starts sitting underneath you. People do not reach for it because they want the same thing slower. They reach for it because they want the opposite mood from the same material, and the original will not give it to them.

The sped up edit does the reverse job. It compresses the hook into a window short enough to survive being clipped, and it lifts the vocal into a register that cuts on a phone speaker. That is a real acoustic effect, not a trend: raising pitch moves energy toward the frequency band small drivers actually reproduce.

Not every song gets one, and that is deliberate. An edit has to survive the process. Records built on a slow, wide vocal turn thin when you speed them up — the phrasing that carried them stops being phrasing and starts being hurry. Records with a lot of high-frequency detail smear when you slow them. The five releases above are the ones where the edits held up. If you want the sped up version of something not on this list, it does not exist officially, and any upload claiming otherwise is somebody else's.