Essentially, as Beano so succinctly explains, they came up with the record’s moniker based on “the ‘commercial paddy’ angle which some bands use. Some…(especially certain European bands with no Irish connection whatsoever) are cashing in on Irishness, so we’re cashing out!” He adds, “The only thing these sad fuckin’ bands are connected to is their wallets.”

Sound bitter? Maybe, but he makes a good point: “At the end of the day, I’m proud to be Irish – I have no choice, but it’s not something I see as a commodity,” as seems to be the case for these other bands to which he alludes. “As far as I’m personally concerned,” he says, “there is no room for nationalism in punk anyway. To me, it’s always been about being against the system – not fucking propping it up!” ALSO, something that seems to irk the bassist a bit is the comparisons to bands like Dropkick Murphys and Flogging Molly, which he sees as a “lazy” categorization made by critics/common-folk just because some of the instruments employed are the same…

So, about Blood or Whiskey’s style that utilizes their country’s traditional sound with tin whistles, banjo, and accordian, I wondered whether or not they knew from the start what type of music they wanted to play. Beano, who wasn’t in the band at the time of Blood or Whiskey’s formation but who speaks on behalf of the others who were (the only members in it from the start till now are vocalist/guitarist Dugs and drummer Chris – there’ve been a number of line-up changes in the past), says something indicative of this band’s importance and revolutionary sound. “I know [the guys] had a general idea of the way they wanted to go – there was, after all, literally not one band playing this type of music when Blood or Whiskey started.” However, he relates certain aspects have changed or evolved in the time between their three albums - at least “marginally.” Logically, he ponders, “Why try to make the same LP over and over again?” (Though, ‘tis true some bands CAN get away with not altering their sound much over the expanse of many years – Pennywise, for one, comes immediately to mind – with much success.)

Well, then, what exactly are some differences Beano finds between this latest album – which along with himself, Dugs, and Chris, finds the band featuring Alan on tin whistle, Sean on accordian, and Peter on banjo – and prior ones (‘99’s s/t release and ‘02’s ‘No Time to Explain’)? His first reply concerns the better production of ‘Ca Out on Culture’. “Although on saying that,” he concedes, “especially with the first Blood or Whiskey LP, the ‘gnarled’ production is probably part of its charm to a lot of people – me included! But to compete with some of the stuff U.S. punk bands are coming out [with] today, sound-wise, we had to upgrade.”

Another contrast is that this album shows the band embracing a harder “punk edge,” something done on purpose. Just check out the LP’s bold, hard-hitting opening numbers, “No Answers” and “Doors of Hope”, and the speedy and catchy “Jar’d for Life”, for a taste. Still, on the other hand, the Celtic moments abound throughout much of the record. “I think some of the quieter moments on the LP have a great ‘ambience,’” declares Beano. “Some of the trad moments are definitely among the best the band has ever done.” Try listening to tracks like the two instrumentals “The Black Cross of Crumlin” and the dirge-y “Requiem for a King”, and the rowdy “Stuck Together”.

In addition, on the lyrical front there have been some changes as well, alterations that reflect changes (mostly for the worse) that have occurred in the world, with the band “kind of [losing] a lot of its humor (although not all),” and in turn writing about more serious subject matter. One song in particular, “Shattered Dreams”, is highly affecting not only for its slow and melancholy instrumentation, but also for its lyrical content. This composition is an eye-opening tale of broken homes and “street life” - basically the ugliness found in Dublin society.

Not having much knowledge about what this city (and Ireland as a whole, for that matter) is really like, I had to ask if these lyrics were disclosing the city’s “dark underbelly” that people try not to notice, or how Dublin actually IS. Beano’s response is quite telling: “It’s not the underbelly at all anymore. Dublin has always been a hard city. I have a love/hate relationship with my hometown,” elaborating, “The scenarios described in the song are sadly visible on the streets today as they are in other cities worldwide.” He warns, “Don’t believe the picture. That tourist version of Ireland does not exist” but rather “is a con to make money off people.”

Touring-wise, Blood or Whiskey have made the trip to the U.S. before, albeit briefly, in ’04, just hitting the East Coast for some shows. But now they’ll be back on the right (!) coast once again mid-March, starting in NYC at Knitting Factory the 13th and ending in Queens the 18th. Check the band’s Website for details on other dates/cities between the two (including a couple with Dropkick Murhpys). But, if you miss this string of dates rest assured, the guys’ll be back Stateside in July to tackle the rest of the U.S. and then again in October for Wasted’s debut in California (this festival has a PHENOMENAL line-up). And then of course they’ll be playing out in the U.K. (including May’s Wasted festival in Morecambe, England) and more dates in mainland Europe.

So, in the end, after releasing their latest album, one that they’re extremely proud of, and with a full schedule of touring for this year, I think it’s safe to say Blood or Whiskey won’t be trading in their heritage for a faux-German style any time soon. And that, dear readers, is a good thing!