Jeremie Albino - Our Time In The Sun: The Easy Eye Sound Discovery That Slipped Under Your Radar

What Makes Our Time In The Sun Worth Your Attention?

Q: Why is Our Time In The Sun considered an essential addition to a modern vinyl collection?

A: Released in 2024 on Easy Eye Sound (The 405), Jeremie Albino's Our Time In The Sun represents the kind of warm, analog-minded songcraft that Dan Auerbach's label has become known for championing. This isn't a reissue or a heritage cash-grab-it's a fresh pressing of contemporary soul-informed rock that sounds like it could've been recorded in 1972, mastered with the kind of care that makes you want to own the physical object.

Why Collectors Are Watching This One

Q: What makes this pressing significant for vinyl enthusiasts in 2024?

A: Easy Eye Sound has built its reputation on producing records that respect the vinyl medium-proper mastering chains, quality pressings, and artists who understand that analog isn't just a format, it's a commitment. At $24.99, Our Time In The Sun sits in that sweet spot where you're getting a pristine new pressing without the sticker shock of limited editions or the gamble of overseas represses.

Start Here: Let the Grooves Settle In

Give it a stream first. Let the atmosphere build. Then we'll talk about why this one deserves shelf space.

The Needle Drop: When You Slide This Out of the Sleeve

The jacket's got that matte finish. Not flashy. The kind of design that doesn't scream for attention but earns it once you've held it. You slide the vinyl out-black, clean, no splatter gimmicks-and there's a weight to it that feels right. Not flimsy. Not overpacked. Just a record that knows what it is.

You drop the needle.

What hits first isn't the production sheen-it's the space. Albino's voice sits in the mix like he's in the room with you, not compressed into a tiny sonic box fighting for airspace. The guitar tones are warm but not muddy, the drums have actual kick and snap, and the whole thing breathes. It's the kind of record you put on late afternoon when the light's starting to fade and you're not trying to impress anyone-just trying to feel something real.

Pairing? Something amber. A decent bourbon, neat. Or strong coffee if it's still daylight. This isn't background music. It's foreground music that doesn't demand you stop everything-it just rewards you when you do.

The Easy Eye Sound Signature: Why This Label Gets It

Dan Auerbach started Easy Eye Sound with a specific mission: find artists who understand that soul and rock aren't museum pieces, they're living languages. The label's roster reads like a who's-who of musicians who care about tone, space, and the kind of songwriting that doesn't rely on tricks.

Jeremie Albino fits that profile perfectly. Our Time In The Sun isn't chasing trends or trying to sound "retro"-it just sounds like music made by someone who grew up listening to records instead of playlists. The production has that warm, slightly saturated quality that suggests analog tape was involved somewhere in the chain, and the mastering respects dynamics instead of crushing everything into a loudness war.

For collectors, this matters. Easy Eye pressings tend to hold their value because they're made right the first time. No need to hunt down "better" versions later because the label already did the work. You're getting a record that was conceived for vinyl, not adapted to it as an afterthought.

Want to add this to your collection? Grab Our Time In The Sun by Jeremie Albino while it's still in stock at Miles Waxey.

The Artist: Who Is Jeremie Albino?

Here's where it gets interesting. Albino isn't a household name-yet. But that's part of the appeal. He's part of a lineage of Canadian songwriters who've absorbed American soul, blues, and rock traditions without sounding like tourists. Think of him as operating in a similar space as Allah-Las or Nick Waterhouse-artists who understand that reverence for the past doesn't mean you have to live in it.

His approach is patient. The songs on Our Time In The Sun don't rush. They unfold. There's a confidence in the pacing that suggests he's not worried about algorithm-friendly hooks or trying to cram everything into the first thirty seconds. He's making records for people who still listen to albums straight through, who understand that the fourth track can be just as important as the opener.

Vocally, there's a warmth that recalls early Van Morrison or a less theatrical Leon Bridges-more conversational, less performative. The guitar work has that slightly fuzzy, slightly reverb-drenched quality that sounds best through a decent set of speakers or a well-matched cartridge. This is tonal music. The kind where you notice the amp choice, the mic placement, the decision to let a note ring out instead of cutting it short.

The Technical Breakdown: What You're Actually Hearing

Let's talk about what's happening in the grooves. This is a single LP, which means the songs have room to breathe-no cramming two hours of music onto four sides and sacrificing fidelity. The dynamic range is preserved. You can hear the difference between a softly strummed verse and a full-band chorus. That's not a given in 2024.

The pressing quality on Easy Eye releases tends to be solid. They're working with plants that know how to handle small-to-mid-run vinyl without cutting corners. Surface noise is minimal on a clean copy, and the frequency response holds up across the spectrum-you're getting clear highs without harshness, midrange presence without boxiness, and bass that's felt without being boomy.

For turntable setup, this is forgiving vinyl. You don't need a $5,000 rig to appreciate it, but if you've got a decent cartridge (something like an Ortofon 2M Blue or a Grado Gold3), you'll hear the detail work. The stereo imaging is thoughtfully done-instruments sit where they should, and there's actual depth to the soundstage.

Mood-wise, this is an evening record. Not late-night melancholy, not midday energy-somewhere in between. Sunday at 5 PM. The week's over, the night hasn't started, and you've got space to just sit with something. Pair it with fading light through the window, a comfortable chair, and the understanding that not every record needs to be a Statement with a capital S. Sometimes a well-made album is enough.

Context & Cultural Lineage

It's worth noting that while this album doesn't have deep historical roots or a decades-long backstory, it exists within a continuum. Easy Eye Sound's catalog places Albino alongside artists like Marcus King, Shannon & The Clams, and Sonny Smith-musicians who understand that the soul-rock tradition isn't dead, it just went underground for a while.

This isn't revivalism. It's continuation. The same way Lee Fields or Charles Bradley proved that soul music didn't stop in 1975, Albino's work suggests that there's still room for songwriters who care more about feel than flash, more about groove than gimmick.

For context on the broader landscape Albino operates in, check out how contemporary artists navigate retro influences-though Albino's approach is far more rooted in organic instrumentation than electronic production.

Watch This: Live Performance Context

Seeing the songs performed live gives you a sense of how the arrangements translate beyond the studio.

The Collector's Angle: Is This One Worth Buying Now?

Here's the honest audit. This isn't a "grail" record. It's not going to flip for $500 in five years. But that's not the point. The point is whether it's worth $24.99 of your money and a slot on your shelf.

If you're someone who's tired of reissues and wants to support contemporary artists making thoughtful music for vinyl, yes. If you appreciate the Easy Eye Sound aesthetic-quality pressings, no bullshit marketing, just good music done right-absolutely. If you need every record to appreciate in value or become a flex piece, maybe skip it.

But if you're building a collection that reflects what you actually want to listen to, not just what you want to own, this belongs in the rotation. It's the kind of record that rewards repeated plays, that sounds better the more familiar you get with it, and that might just surprise you six months from now when you pull it back out.

New pressings from labels like Easy Eye don't typically sit around forever at initial retail. They're not manufactured in massive quantities, and once they're gone, the secondary market takes over. At under $25, you're getting in at the right price.

Final Thoughts: Add It to Your Crate

Our Time In The Sun isn't going to rewrite your understanding of what music can be. It's not trying to. What it offers is something rarer: consistency, craftsmanship, and the kind of honest songwriting that doesn't need to justify itself with genre tags or concept angles.

Jeremie Albino made a record that sounds good. Easy Eye Sound pressed it properly. You can own a clean copy for less than the cost of two cocktails at a decent bar. It's a straightforward transaction: good music, fair price, quality pressing.

Do your copy a favor-clean it before the first play, set your tracking force properly, and give it the attention it deserves. You might be surprised how much you reach for it once it's part of the rotation.

Ready to add this to your collection? Grab your copy of Our Time In The Sun from the Miles Waxey bins before it's gone.

Got this record already? Drop a comment-what's your take on the pressing quality? How's it sound on your setup? We're always curious what fellow collectors are hearing.