We spoke with Pooyan Saadati about “Block” and more!

Q: Hi! When you first started working on “Block”, what was the spark or feeling that made you want to bring this track to life?

A: The spark behind Block came from wanting to create something meaningful that captured feelings of pressure, uncertainty, and the search for release. I was interested in how sound could express those emotions in a deep and immersive way, so the project naturally developed into an audiovisual piece that translates that atmosphere into a full experience.

Q: How did your environment, maybe living in Manchester or your background in general, shape the mood and sound of “Block”?

A: Of course, environment always influences my work, almost like a form of psychogeography in sound. When I created Block, I was living in Scotland, and the atmosphere there had a strong impact on the mood of the piece. The gothic architecture, the grey skies, and the overall sense of stillness shaped the darker textures and the feeling of pressure in the sound design. That environment naturally pushed me toward creating something more introspective and immersive.

Q: Did “Block” change much during production, like an early idea turning into something unexpected by the end? What surprised you most in that process?

A: In this case, Block didn’t change very much during production. I had a clear vision and perspective from the beginning, so the direction stayed consistent throughout the process. Of course, some small details evolved as I worked with sound and visuals, but the core concept remained exactly as I imagined it

Q: What kind of atmosphere or emotion do you hope people feel when they hear “Block” for the first time?

A: When people experience Block for the first time, I hope they feel a clear emotional progression, starting with tension, anxiety, and a sense of pressure. The work carries those darker textures throughout, but it also creates moments where the viewer can sense movement or possibility within that weight. Even when Block has been shown in different places, people often describe a similar emotional response, which tells me the atmosphere is communicating the way I intended.

Q: If “Block” had a visual world like a music video or an art piece, how would you picture it? What imagery comes to mind?

A: Even though Block already has its own visual world, when I think about it in a broader sense, I picture something very minimal and abstract. For me, the visuals are less about showing a real place and more about creating a mood, simple spaces, slow movements, shadows, and small changes that reflect the pressure and emotion in the sound. It’s a world that feels clean but heavy, where the atmosphere carries the meaning rather than a literal story.

Q: As both a DJ and a producer, do you imagine “Block” more as a club track, a headphone track, or something that lives in between?

A: I don’t really see Block as a club track or a headphone track. For me, it’s more of an art piece, something built around emotion, space, and atmosphere rather than rhythm or dance energy. It’s meant to be experienced in a focused environment, especially in a multichannel setup, where the sound can surround you and carry the emotional weight of the work. So it doesn’t belong to the club world; it fits more naturally within installations or exhibitions where people can take the time to absorb the piece fully.

Q: Do any personal memories or experiences feed into “Block,” even if it’s in an abstract way? What makes this track special to you?

A: Yes, there are personal observations behind Block, but they appear in an abstract way. I didn’t experience these situations myself, but I’ve seen people around me go through them, and those emotions stayed with me. I wanted to translate that feeling into sound, which is what makes the piece meaningful to me.

Q: How do you usually balance technical sound design with emotion when you’re creating music like this?

A: For me, emotion always comes first. I start with a feeling, and then I translate it into sound through technical tools. It’s almost like translating a word into a different language, the emotion stays the same, but it takes on a new form in the production. When those two sides meet, the work makes more sense as a whole.

Q: When you listen back to “Block” now, is there anything you hear differently compared to when you first finished it?

A: Yes, definitely. The more I listen to Block, the more I discover inside it. It’s similar to watching a film several times, each time you notice something new. With Block, different details or emotions come forward on each listen, so the piece keeps revealing itself in new ways.

Q: Was there a particular challenge while making “Block,” whether creative or technical, and how did you push through it?

A: Yes, the main challenge was working in a multichannel sound system, because it was my first time creating something beyond a stereo format. Understanding how to place sounds in space and make the piece feel balanced was completely new for me. In the end, the multichannel format became one of the strongest parts of the project.

Q: After releasing “Block” and then following it up with other music, how do you see this track fitting into the bigger picture of your sound right now?

A: I see Block as an important part of my sound, even though my music naturally changes from project to project, that’s normal for most producers. Every piece has its own direction. But one thing that stays consistent is the atmosphere I create. I often get feedback from people who work with me saying they really connect with the darker elements and textures I use. Block helped define that side of my sound, and it still influences how I approach new work today.

Q: Looking ahead to the rest of the year, what’s next for you creatively? Any new releases, shifts in sound, or live plans you’re excited about?

A: This year I’m focusing on building Plastic Monolith, the platform and label I created to release music, mixes, and collaborative projects with other artists. Alongside that, I have several creative projects in progress. My work is moving in different directions,  producing techno for the dance floor, sound design for film, and exploring more experimental audiovisual ideas. I’m excited to keep expanding these different sides of my practice.