In a world of familiar tracks, MJoobi—also known as Soheil Mahjoobi—has been the master hand behind some of the most unforgettable sounds in Iranian music, blending tradition with innovation. His journey in music started at 17, DJing at underground parties with a friend in Iran. Determined to explore beyond DJing, MJoobi delved into music software, releasing his first remix at 19—a decisive step towards a career in production.
By his early twenties, he had joined the remix project Rebeat, which had been running for two years by then. Rebeat’s popularity soared through Tehran’s underground scene with their remixes on CD, and MJoobi brought his inventive flair to the group. Tracks like “If You Go Away” even caught the attention of Sony and Universal, who sought licensing rights. Rebeat’s work even garnered recognition from DJ Tiesto and won a Best Remix award on Shirley Bassey’s official website. For MJoobi, Rebeat was about more than remixes; it was a way to revitalise his favourite classics with a fresh, joyful twist. MJoobi served as the group’s “all-rounder,” finalising tracks through mixing and mastering, Also Remixing and producing, ensuring each piece felt polished yet experimental.
MJoobi’s next big step was at Avizhe Ponak Studio, where he became studio manager and transformed it into a creative centre for Tehran’s pop and indie scene. He managed sessions for renowned Iranian acts such as Sirvan and Xaniar Khosravi, Comment Band, and Behnam Bani, among others. However, he didn’t stop at just managing—he also collaborated as a producer with artists like Sogand and Sina Taham, blending Persian poetry with electronic beats to create a unique signature sound. His collaboration with Sogand on The Lom remains one of his iconic productions.
MJoobi’s approach to The Lom with Sogand demonstrates his knack for crafting music that transcends boundaries. With a compelling blend of Persian poetry, folk music and electronic beats, he managed to create a song that resonated with listeners on a deeply emotional level, while still appealing to mainstream audiences. His strategic layering of sound and nuanced use of cultural elements helped The Lom achieve viral status, marking it as not just a hit but a bridge between old-world storytelling and modern soundscapes.
This skilful blend of East and Western musical elements can also be heard through other collaborative projects that have been released years later; such as Sogand with Roozbeh Nematollahi or In man kist, as well as solo projects like Your Eyez.
At Avizhe Ponak, MJoobi’s technical expertise also set a new standard; he was instrumental in installing Iran’s first Avid Hybrid console for ProTools, a move that raised the studio’s profile and positioned it as a pioneering space in the region’s digital music scene.
MJoobi’s work didn’t come without risk. Government scrutiny led to a challenging period of censorship and even imprisonment for him and some of the artists he collaborated with, including Sogand. Reflecting on this time, MJoobi says,
“From the first day in prison, I knew I no longer wanted to work inside Iran. I wanted to make music, not be imprisoned for it.”
Following his release from prison, MJoobi continued working on theatre projects during the three-year period it took for the court to fully resolve his case.
MJoobi’s work in musical theatre highlights his skill in creating powerful, story-driven soundscapes. A notable example is his contribution to the 2017 Tehran production of Hamlet, directed by Kiomars Moradi. For this project, he composed over 70 minutes of music, blending traditional Iranian motifs with contemporary sound to build a haunting atmosphere that enriched the play’s emotional depth. Working with sound engineer Aidin Olfat, MJoobi ensured that every element of the score amplified the performance’s impact, demonstrating his unique ability to merge technical and creative expertise.
He also collaborated with director Ramin Akbari on an experimental theatre performance, crafting a 15-minute score that was both minimalist and expressive. This project, though smaller in scale, allowed MJoobi to explore music’s role in character-driven storytelling. These theatre projects were among the final works MJoobi completed in Iran before departing the country.
After facing legal restrictions in Iran, MJoobi moved to Paris, where he continued his creative journey. Collaborating with Ali Azimi, he worked on popular tracks like “Panahande” and “Heyhot,” now among Ali Azimi’s top Spotify hits. Recently, he has begun collaborating with Diata, expanding his sound for both Iranian and global audiences.
MJoobi co-founded Lighthouse Records with Heen, establishing athat supports various artists in collaborative projects. In addition, he and Heen launched Sig:Null Academy, a platform focused on education, where artists such as Heen, Canis, and Blausch provide mentorship and training to emerging talents. Both projects have quickly become spaces for high-quality, boundary-pushing music.
Currently a member of the Agency of Artists in Exile, MJoobi’s contributions extend beyond the studio. Whether managing live music projects, live installations or sound engineering, MJoobi’s life is, as he describes it, “based on sound.” His journey spans far beyond any single track or project—he’s shaped a world where the lines between East and West blur, leaving a soundscape that is unmistakably his own.
As MJoobi steps forward into new projects, the legacy he leaves behind is clear: a voice for Iranian music that has endured in the face of challenges and that continues to redefine what it means to be a producer on both a local and global stage.
Through his extensive and varied journey, MJoobi has continually merged diverse influences and deep technical skills, building bridges between tradition and modernity. While his role remains largely unsung, MJoobi’s impact on Iranian music is indelible—a true architect of sound and a visionary in his field.