IDO: Falling Apart to Fall Into Place

Emerging from London’s vibrant underground, IDO delivers a debut that’s as raw as it is redemptive. His first full-length, Autumn Vol. 1 (out now via APOLLO Distribution), captures a soul laid bare — a 25-minute meditation on loss, love, and the cyclical beauty of falling apart only to begin again.

Written on his beloved white piano and recorded live with his band in Ramsgate, the album drifts between haunting introspection and cathartic release. Across fuzzed-out guitars, choral swells, and intimate vocal takes, IDO builds a world where grief and growth are inseparable, and surrender becomes strength.

At its emotional core is “October (Under the Big Blue Sky)”, a cinematic debut single that sets the tone for everything that follows — wide-open, unguarded, and deeply human. We spoke with IDO about the imagery, emotion, and philosophy behind Autumn Vol. 1, and what it means to make music that breathes.

1. “October (Under the Big Blue Sky)” feels like such a cinematic and emotional debut — what inspired the song’s imagery of woods, concrete walls, and open skies? Were these drawn from a specific moment or memory?

I’ve always thought in images — it’s how I naturally express myself. I wanted to show the contrast between the openness of nature — the woods, the big blue sky — and the harshness of concrete, which feels man-made and confining.

The song explores both the relationship between humans and nature, and the one we have with ourselves. There are things we can’t control, like nature itself, and then there are the walls we build on top of that. Sometimes when we feel free and then suddenly lost, it’s because of those walls we’ve created. When I sing “till I hit these concrete walls,” I picture someone running freely and suddenly stopping — trapped by invisible barriers. That image really captures what the song is about.

2. You’ve said the song is about “acceptance” and “finding beauty in the fall.” How did that idea of surrender shape the music itself — from the way you played it on your white piano to how it was arranged with the band?

When October was written, it felt like it was already there, waiting for me to give it life. The verse has a tight piano riff that builds tension, and then it opens into this bright, accepting chorus. Playing it on my white piano felt completely natural — that transition from darkness to light became the sound of acceptance itself.

Later, my partner suggested I write down all the visions I had for the songs. Gal and I took those notes to Portugal, where we sat by the river and talked through everything. We realized the song needed two distinct atmospheres — a darker, more personal verse that feels like someone getting lost, and a big, open chorus that lifts the whole thing up, with choirs and acoustic guitars.

3. The live recording gives the track an incredible sense of warmth and honesty. What made you decide to record Autumn Vol. 1 live, and how did that choice influence the final sound?

Recording Autumn Vol. 1 live just made sense — it’s the kind of music we all love. Gal, the band, and I are drawn to that live energy, like what you hear from Radiohead, The Smile, Cleo Sol, or Micheal Kiwanuka. Even when they use loops, it is still recorded live.

Songwriting for me is usually solitary — it’s personal — but making a record is a shared experience. It’s about creating something together. These songs were made to incorporate a full drum set, that plays this tight groove with the bass — and in order for that to happen they need to breathe in the same space.

You can build that sound digitally, but it never feels the same. We wanted the warmth and human connection that comes from people playing together in a room. That’s the energy we chased for Autumn Vol. 1.

4. You’ve worked closely with Gal Bachar on this record — what does that creative partnership bring out in you? How do you two balance emotion and production to keep things feeling so human?

Gal is one of my best friends, and we just love making music together. There’s a lot of trust and freedom between us — no judgment, no pressure to be anything else but who we are. I’m instinctive and not very technical, so I tend to create in the moment. Gal knows how to take those raw ideas and shape them in a way that makes sense.

The more we work together, the more natural it feels to trade roles — sometimes he steps in and I step back, and the other way around. It’s never forced.

For both of us, emotion and production aren’t separate things. A good production is emotion — it should sound human and feel real. If it doesn’t move you, it’s not working.

5. As your debut single, “October” introduces listeners to your world — soulful, raw, and nostalgic. What do you hope people take away from this song, and what can we expect next from Autumn Vol. 1?

I hope October finds each person where it needs to. For some, it might bring back a memory; for others, it might spark reflection — questions like Who am I in this world? or How can I let go of control? That’s the beauty of music — it can go anywhere. Once it’s out in the world, it’s no longer mine.

What I’d really love is for people to give it a quiet moment — listen on a walk, or when they’re alone — and just be present for those four minutes. That kind of attention is where the connection happens. Autumn Vol. 1 is a concept album that captures a full journey. One song leads to the other. You can expect philosophical ideas, really personal moments, all played by a full band. It’s an album full of questions, it is about getting lost, and finding yourself over and over again.