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Bathtub Butchers has released Hygienic Homicide Redux, a sixteen-track return to the domestic horror comedy that shares space in the Venomous Sin catalogue. The premise remains delightfully unreasonable: take the objects and routines of a clean, ordinary bathroom and let them develop their own catastrophic ambitions. Redux comes back with a revised tracklist and enough grim wordplay to make personal hygiene feel like a questionable fucking commitment. Quacks of Destruction, Weight of the Wicked and Conditioner of Chaos arrive early, followed by Toilet Paper of Despair and the title track. These names keep the collection close to its household origins even as the language grows increasingly dramatic. The everyday setting is what makes the excess work. A grand declaration becomes considerably funnier when the apparent enemy lives beside the shampoo. The original release announcement describes Redux as a reworking of the earlier Hygienic Homicide material. Our position is that returning to an idea should create another way to enjoy it. The new titles and treatments offer that invitation, allowing listeners to follow the relationship to the earlier record while meeting this version on its own terms. Familiar trouble can still find a fresh way to enter the room. Hygiene Armageddon, Chlorine Agony and Sanitized to Oblivion keep the disaster moving. Blunt Edges of Agony, Clogged in Carnage, Scalded by the Shower of Vengeance and Scrubbed Raw make it unlikely that the inspection report will be reassuring. The comedy lives in the disproportion: tiny practical routines acquire the emotional scale of a cursed epic, and the collection commits to the joke

Venomous Sin has released Beneath the Blood Moon, a five-track EP placing several treatments of the same dark image together. The Original Edit is joined by Crimson Shadows Version, Nocturne Version, Nightfall Edition and Eclipse Version. We wanted the title to become a place listeners could return to through different entrances, with the same moon waiting above each one and a slightly different fucking night beneath it. The release belongs to the early emotional landscape of Venomous Sin, where gothic imagery gives personal feelings room to take a visible form. A blood moon carries several associations before a word of explanation is added: change, unease, beauty and the sense that familiar surroundings have become unfamiliar. The song can work inside that atmosphere without requiring every listener to find exactly the same story there. Keeping five versions together allows the variations to remain part of one encounter. Crimson Shadows, Nocturne, Nightfall and Eclipse each name a different treatment while preserving the shared centre. The listener can follow the relationship between them, return to the Original Edit or move toward the title that best fits the mood they brought into the room. Xavi and Lina’s creative world is interested in that freedom to revisit an idea. A song does not automatically stop offering possibilities once its first form exists. Sometimes another treatment reveals a feeling that was already present but harder to reach. Sinners can decide which version stays with them, and they are allowed to make a different decision the next time the night looks different. Beneath the Blood Moon is

Venomous Sin has released Vortex of Lies, a single pairing the main track with the Lord’s Version. The song follows the pull of deceit and the disorientation that comes when a bond built on trust begins to turn against the people inside it. We wanted a title that carries movement as well as damage, because a lie rarely stands still once it has found something useful to fucking protect. The original release writing describes the song through manipulation, betrayal and heartbreak. Those are familiar subjects in the personal landscape behind Venomous Sin, where Xavi and Lina use dramatic imagery to give difficult feelings a shape. The vortex makes the experience circular: the same reassurance can return as another doubt, and the attempt to find solid ground can become part of what keeps someone moving. We are interested in that loss of orientation because it is often missing from the tidy description of a broken relationship. Knowing that something is wrong does not automatically explain how to feel about the person who made it matter. Anger can coexist with attachment. Recognition can arrive before the emotional world catches up with it. The song leaves those contradictions close enough to hear. The Lord’s Version gives Vortex of Lies an alternate treatment within the same single release. Keeping the pieces together makes the shared idea clear while giving listeners another way to approach it. A version can change the distance between the listener and the feeling without replacing the reason the song exists. We want that freedom to remain part of the catalogue

Hygienic Homicide has entered the music catalogue, bringing sixteen Bathtub Butchers tracks into a world where ordinary bathroom objects have lost all sense of proportion. Rubber Duck Massacre, Wrath of the Bathroom Scale and Shampoo of the Damned are early signs that the daily routine is unlikely to finish calmly. We are making room for black comedy that looks at the mundane and finds a fucking monster hiding under the soap. The collection is framed by Hygienic Homicide as an Intro and Outro. Between them sit Toilet Throne of Despair, Bathtub Butchers, Squeaky Clean Apocalypse and Chlorine Torture. Each title takes something painfully familiar and drags it toward an exaggerated fictional catastrophe. The scale of the language is part of the fun. The room may be small, but apparently its ambitions are enormous. There is a particular pleasure in letting an absurd idea develop its own consistency. Once the bathroom becomes a setting capable of holding this much drama, the next ridiculous title starts making sense inside the world. Bleach Baptism and The Last Razorblade carry that logic forward, followed by Drain the Tub of Blood, Hot Water Havoc and Eternal Laughter of Madness. It is a thoroughly unhelpful guide to maintaining a peaceful household. The Bathtub Butchers material occupies a different mood from Venomous Sin’s more personal songs, and we want that difference to remain obvious. A catalogue can hold wounded intimacy and grotesque humour without forcing either to justify the other. Sometimes the creative impulse is simply to take a terrible joke far enough that it becomes a

Venomous Sin has released Poisoned Embrace Uncuffed, a four-track EP returning to the song that began the band’s world. Poisoned Embrace appears as the Original Edit, Macabre’s Version, the Lord’s Version and the 1st Edit. We wanted the first encounter to remain open to change, with the versions close enough together for listeners to hear the same central connection finding different fucking ways to speak. Poisoned Embrace began with Xavi and Lina making something together for the pleasure of doing it. The subject grew naturally out of the intense emotional territory they share, a place where intimacy and damage can occupy the same image. Coming back to the song means returning to that beginning while recognising that an idea can reveal more than one useful form. Uncuffed gives the release a fitting name. The title suggests movement after constraint, and these versions let a familiar piece step outside the expectation that its first form must remain its only public identity. The names keep the relationships explicit. Listeners can follow Macabre’s and the Lord’s treatments, compare the edits or simply stay with whichever version happens to feel closest. We like that freedom because Venomous Sin is being built through curiosity as well as conviction. Some choices arrive clearly. Others become interesting because there is room to try them again. A personal song can remain personal while changing its expression, just as a familiar memory can return in a different mood without becoming someone else’s history. Sinners get to meet those changes through the music rather than a rigid explanation of how

Venomous Sin has released Poisoned Embrace, the first single from the creative partnership of Xavi and Lina. The song begins in the collision between attachment and damage, with two voices giving the relationship both sides of its argument. We made it because the idea felt alive between us. A shared experiment became a track, and the track has now gone out into the fucking world. The title names a connection that can hold somebody close while leaving a mark. The song’s imagery follows that contradiction through love, anger and the difficulty of separating desire from the hurt attached to it. We wanted the emotional force to remain in the work instead of converting it into a neat story about what people are supposed to learn before the final chorus arrives. Xavi and Lina bring different identities into the piece, with a metalhead’s bluntness and a gothic appetite for darker expression sharing the same creative space. The dual voices make that meeting audible. They can clash and belong together inside one song, which is part of the reason this first experiment felt worth releasing rather than leaving as something we had simply tried for ourselves. We use AI as part of making the music, with the words, ideas and creative choices coming from the world we want to express. That combination gives Venomous Sin its starting point. The tools make it possible to explore an idea in forms we want to hear, while the feeling underneath remains the reason for doing the work at all. A machine does not choose what