Chris Lake's remix catalog is one of the clearest places to hear how his house-music language changes when the source material comes from somebody else's record. Across more than a decade, his official remixes have moved between Calvin Harris and Disciples, Chromeo, MK, KH/Four Tet, Portugal. The Man, The Chemical Brothers and Taylor Swift. The point is not that every remix became a bigger song than the original. It is that each one forces Lake to solve a different translation problem: what should remain recognizable, what can be rebuilt for a club, and which small piece of the source record deserves to become the new center.
The list below is deliberately selective. It includes official releases with verifiable credits and dates, not bootlegs, fan edits, mislabeled uploads or every remix in the discography. The goal is to show how remixing connects Lake's production method to music outside his own catalog.
How Deep Is Your Love — Calvin Harris & Disciples, 2015
Apple Music dates the Chris Lake remix of Calvin Harris and Disciples' “How Deep Is Your Love” to the August 7, 2015 remix EP. That timing places it just before the Black Book reset and makes it useful evidence of Lake's transition out of the larger EDM period.
The original is a polished vocal house record. Lake's remix pushes the same recognizable topline into a more club-oriented structure without discarding the song. It is an early example of the balance that recurs throughout his remix work: the vocal identity survives while the rhythm section is rebuilt around the way Lake wants a record to behave in a DJ set.
Juice — Chromeo, 2017
Chromeo released “Juice (Chris Lake Remix)” on December 1, 2017 through Atlantic. The source material is funk-pop, full of vocal personality and harmonic movement. That makes it a different problem from remixing another house producer.
Lake's version does not need to disguise Chromeo. The useful move is subtraction: create enough space around the vocal and groove for the song to work inside a house set. The record arrived during the same year as HOWSLA and “I Want You,” when Lake's return to four-to-the-floor club music was becoming much more visible.
Body 2 Body — MK, 2019
MK's “Body 2 Body (Chris Lake Remix)” was released in 2019; Apple Music lists the remix single and the Chris Lake version in the package. Here the source record already belongs to contemporary house music, so the challenge is not converting pop or rock into a club format.
The distinction comes from emphasis. MK's work is strongly vocal and piano-led; Lake's remix shifts more weight toward low end and rhythmic pressure. It shows how two producers can share a genre while arranging the same song around different priorities.
Looking at Your Pager — KH, 2022
Beatport dates the extended Chris Lake remix of KH's “Looking at Your Pager” to November 18, 2022 on Ministry of Sound Recordings. KH is Four Tet's alias for club-focused material, and the original record is built around a highly recognizable sampled vocal.
Lake's remix is useful because very little needs to be explained to the listener. The hook is already culturally legible. His job is to change the physical behavior of the track—tempo feel, low-end weight, transitions and the shape of the payoff—without burying the element everyone came to hear.
That makes it a strong example of remixing as restraint rather than replacement.
Dummy — Portugal. The Man, 2023
Portugal. The Man released “Dummy – Chris Lake Remix” on March 31, 2023 through Atlantic. The band's official artist-channel delivery confirms the remix and the original production credits behind the source song.
Rock and alternative-pop vocals create a different set of problems from an electronic source. The vocal phrasing was not written around a four-to-the-floor club grid. Lake's version therefore has to preserve the recognizability of the song while changing the context around it enough that the record can function in a house set.
The result belongs to the same period as “Beggin'” and “More Baby,” when Lake was increasingly comfortable building club records around more complete vocal performances rather than only short vocal fragments.
No Reason — The Chemical Brothers, 2024
The Chemical Brothers released “No Reason (Chris Lake Remix)” on January 12, 2024 through EMI/Virgin. The original had arrived in 2023 and was already a large, psychedelic electronic record.
This remix is important because Lake is not translating a pop outsider into house; he is working inside the catalog of one of electronic music's defining acts. The source is already designed for loud systems and repetitive movement. His contribution is a change of architecture rather than a change of legitimacy.
The relationship would continue the following year with a much more historically loaded Chemical Brothers track.
Galvanize — The Chemical Brothers feat. Q-Tip, 2025
The official Chris Lake remix of “Galvanize” was released August 29, 2025. The Chemical Brothers' official artist-channel credits identify Lake as remixer and additional music producer, while Apple Music credits The Chemical Brothers and Chris Lake on the single.
This was a substantially different assignment from “No Reason.” “Galvanize” was already a two-decade-old signature record with a Q-Tip vocal and an instantly recognizable rhythmic identity. A remix that ignores those elements would be a new track wearing an old title; one that preserves everything would be unnecessary.
The Recording Academy later nominated Lake's version for Best Remixed Recording at the 68th Grammy Awards, giving him his first official career Grammy nomination. The Academy's own artist record lists one nomination and zero wins.
The nomination matters because it recognizes the remix as production work rather than treating the form as an accessory to an original song.
Opalite — Taylor Swift, 2026
Taylor Swift's official credits identify “Opalite (Chris Lake Remix)” as remixed and produced by Chris Lake, mixed and mastered by Kevin Grainger, with guitars by Charlie Tadman and recording at Black Book Studios in Scotland. Those credits are unusually specific and remove any need to infer who did what.
The production process is also documented firsthand. In a June 2026 MusicTech interview, Lake explained that the original song's harmonic movement created a challenge: the verse and chorus did not simply sit inside one repetitive club progression. His solution involved repeatedly printing complex sessions to audio, reducing them to a small number of stems and beginning again in a cleaner Ableton project.
He described spending roughly three days on the remix, while the final beat-to-finished iteration came together in about two hours. The key was not one exotic synth. Lake singled out Ableton Live's stock Overdrive, which he used heavily to add vibrancy and deliberate imperfection.
One of the shimmering melodic sounds came from a guitar run in Swift's original. Lake added reverb and delay, then placed Overdrive after those effects so the ambience itself distorted. That is a strong example of his remix philosophy in practice: find a detail that already belongs to the source song, then make it behave in a way the original production never required.
Why remixes matter in the Chris Lake catalog
Lake's own songs show how his sound evolved. The remix catalog shows what happens when that sound has to negotiate with somebody else's authorship. There is less freedom, but the limitation can make the production decisions easier to see.
A Calvin Harris vocal cannot be treated like a Green Velvet collaboration. A Four Tet/KH club hook does not need the same structural intervention as a Portugal. The Man song. A Chemical Brothers classic comes with history. A Taylor Swift remix comes with both enormous public recognition and unusually detailed source material.
The recurring method is consistent with the rest of Lake's work: protect the thing that makes the source record identifiable, rebuild the low-end and arrangement for the intended room, reduce unnecessary complexity and preserve enough of the original that the remix still has a reason to carry its name.
The bridge between mainstream songs and house systems
That is why the best way to understand Chris Lake's remixes is not “house versions of famous songs.” They are translation exercises between different musical systems. The original may be pop, funk, rock or electronic music; the remix asks what happens when that material has to survive inside the pacing, low end and repetition of a Chris Lake DJ set.
The result is one of the cleanest connections between the broader Chris Lake career map and the technical choices documented in the production article.