Eric Steckel – ‘Sandstorm’

(SPV / Steamhammer)

There’s something wonderfully reassuring about an album that knows exactly what it wants to be. In a world where music can sometimes feel obsessed with chasing the next big trend, Eric Steckel’s Sandstorm heads in the opposite direction. This is Blues Rock rooted firmly in tradition, but it’s certainly not content to sit quietly in the corner playing the blues by the numbers. There’s weight here. There’s muscle. There’s attitude. Most importantly, there’s a guitar presence that gives the whole record considerably more bite than you might expect from your average traditional blues release.

Sandstorm is an album that understands the foundations of the blues while being completely comfortable turning up the volume and letting the amps do some serious talking.

Steckel has clearly spent plenty of time absorbing the great traditions of the genre, and there’s an authenticity running through this record that is difficult to fake. The blues has always been about feeling rather than technical perfection, about conveying something real through the combination of voice, guitar and groove. Sandstorm understands that perfectly. But where some traditional blues albums can occasionally become a little too restrained, Steckel brings an added heaviness that makes this one considerably more exciting.

The guitars are undoubtedly one of the album’s greatest strengths. They are prominent, powerful and frequently downright filthy, adding a heavier edge to the traditional blues framework. This isn’t Blues Rock that merely adds a distorted guitar to a blues song and calls it a day. The guitar is absolutely central to the personality of the album. There’s a sense of danger lurking around the edges, as though at any moment the whole thing could explode into something considerably heavier. And that’s exactly what makes Sandstorm such an enjoyable listen.

There’s a fantastic balance between old-school blues sensibilities and a much more muscular Rock approach. The riffs have weight, the grooves have swagger and the guitar work gives everything a wonderfully earthy quality. It sounds lived-in rather than manufactured. You can almost smell the smoke, feel the heat coming from the amplifiers and picture the band hammering this stuff out in a packed, sweaty club with the volume turned way beyond sensible levels.

That’s where this album really comes alive.

There is also a genuine sense of variety within the overall blues framework. Steckel doesn’t simply hammer away at one particular sound for the duration. There are moments of traditional blues melancholy, darker and heavier passages, swaggering Rock moments and plenty of soulful musicianship. Yet despite those different shades, the album never loses its identity. It remains unmistakably blues-driven from beginning to end.

And while the guitars might grab the attention, there’s plenty happening underneath them. The rhythm section provides a solid foundation, allowing the guitars to roam without ever losing the groove. That groove is hugely important because Blues Rock lives or dies by its feel. You can have all the technical ability in the world, but if the music doesn’t move, it doesn’t matter. Thankfully, Sandstorm moves.

It has that wonderfully loose quality that makes Blues Rock so appealing. There’s room for the musicians to breathe, room for the guitars to stretch out and room for the emotional character of the music to come through. Nothing feels overly polished or sanitised. Instead, there’s a rawness that gives the record its personality.

The traditional blues influence is also handled with genuine respect. This isn’t a record trying to reinvent the genre simply for the sake of being different. Steckel clearly understands that there is enormous power in keeping the fundamentals intact. Blues has survived for generations because the basic formula works: emotion, groove, storytelling, tension and release. Sandstorm takes those ingredients and gives them a harder, louder Rock coating. For me, that heavier edge is what elevates the album.

I enjoy traditional blues, but I’m always going to be drawn towards something with a little more fire in its belly, and Sandstorm certainly has that. The guitar work consistently adds another layer of excitement, preventing the album from ever feeling too gentle or predictable. There’s grit here, and there’s enough raw energy to make this something you’ll want to play loud.

It’s also the kind of record that rewards repeated listening. The first impression comes from the guitars and the sheer weight of the sound, but underneath that are the subtleties of the songwriting and musicianship. The more time you spend with it, the more those details reveal themselves.

Ultimately, Sandstorm is a superb example of how traditional Blues and heavier Rock can coexist without either side losing its identity. It respects the past but isn’t trapped by it. It has the soul and authenticity of traditional blues, but it also has the volume, attitude and guitar muscle that will appeal to those of us who like our blues served with a considerably heavier helping of Rock.

Eric Steckel has created an album with genuine character here. Sandstorm is gritty, soulful, muscular and packed with guitars that demand attention. It’s traditional Blues with its fists clenched. And sometimes, that’s exactly how I like my blues.

‘When It Rains, It Pours’, a suitably bluesy introduction that immediately establishes the album’s earthy character. There’s plenty of grit in the guitars, with Steckel setting out his stall from the very beginning. The groove has that classic Blues feel, but the guitar tone gives it considerably more muscle. A strong opening statement.

‘The Other Guy’, a swaggering Blues Rock number with attitude to spare. The guitar work is particularly effective here, balancing traditional blues phrasing with a much heavier edge. There’s a wonderfully lived-in quality to the performance, making this feel like music played by people who genuinely understand the blues rather than simply imitate it.

‘Blues For The Lonely’, the title tells you much of what you need to know. This is where the emotional side of the album comes to the forefront. There’s a melancholy running through the performance, but it never becomes overly sentimental. The guitar carries plenty of feeling, proving that sometimes a single note played with conviction can say more than a hundred.

‘What I Wanna Believe’, a slightly more accessible Blues Rock approach, with a strong groove keeping everything moving. The guitars remain wonderfully prominent, while the vocals give the song a soulful, personal quality. It’s a great example of Steckel finding that sweet spot between traditional Blues and something with enough Rock muscle to hit considerably harder.

‘Sandstorm’, the title track feels like the natural centrepiece of the album. There’s a sense of power and momentum running through it, with the guitar work providing plenty of grit. Steckel sounds completely at home here, combining bluesy feel with a heavier attack. This is Sandstorm in a nutshell: traditional roots, amplified attitude.

‘Empty Promises’, a darker, more reflective number that allows the emotional weight of the songwriting to shine through. The guitar work is restrained when it needs to be but still carries that distinctive Steckel edge. There’s a sense of frustration running underneath the performance, giving the song plenty of character.

‘El Paso Sugar’, Now we get some serious swagger. This is Blues Rock with a little extra dirt under its fingernails. The groove is infectious; the guitars have plenty of bite and there’s a wonderfully loose quality to the performance. It feels like the sort of song that would sound even better blasting out of a club PA at stupidly high volume.

‘Axe To Grind’, the title practically demands a heavier approach, and Steckel delivers. This is one of the more aggressive moments on the album, with the guitar pushed firmly to the front. There’s attitude, grit and plenty of Blues Rock muscle here. A great reminder that the blues can be every bit as powerful as its heavier Rock cousins.

‘She’s A Golddigger’, a fun, swaggering blues number with plenty of personality. There’s a tongue-in-cheek quality to the performance, but musically it remains seriously accomplished. The guitar work once again provides the heavyweight punch, while the groove keeps things loose and entertaining.

‘Back To Life’, a fitting conclusion that brings the album to a satisfying close. There’s a sense of optimism running through the performance, while the familiar combination of soulful vocals, bluesy guitar and Rock weight gives it plenty of impact. It leaves the listener with the feeling that the journey has been worthwhile.

Eric Steckel’s Sandstorm is Blues Rock with its boots firmly planted in tradition but its amplifier turned up to eleven. This is an album packed with soul, grit and genuine feeling, yet it also has enough guitar muscle to satisfy anyone who likes their blues with a heavier edge. Steckel clearly understands the importance of groove and emotion, but he also knows when to unleash the guitars and let them roar. The result is a record that feels authentic without ever sounding old-fashioned. Traditional Blues fans will find plenty to love, while Rock fans will appreciate the extra weight and attitude. Sandstorm is earthy, powerful and gloriously guitar-driven. If you like your Blues with bigger riffs, dirtier guitars and a serious Rock kick, turn this one up loud and let Eric Steckel bring the storm.

7/10

Essential Track – ‘When It Rains, It Pours’

Review by Woody