Iran's 1979 revolution presented a stark break in Iranian politics, which was reflected in the country's public soundscapes. In this paper, I will aim to construct an aural tapestry of the years leading to the revolution, the revolution itself and the first decade or so afterwards. What does this tapestry of sound tell us about the political, social and cultural influences that culminated in the revolution, and more broadly, what does it tell us about the lifecycle of the Islamic revolution and its aftermath? I will start out by tracing some of the aural environments that Tehran residents inhabited during the 1970s, and the possibilities and directionalities that those soundscapes afforded, both social and political. I will highlight some of the more prominent features of the Pahlavi soundscape, such as the modern noise of car traffic brought on by increased urbanization, the lax air of the cabaret district, punctured by music and mixed-gender laughter, and religious sermons broadcast from the progressive Hosseiniye Ershad mosque. I will then examine Tehran's soundscape during the revolution, the chants during demonstrations, the music played on cassette recorders broadcast on megaphones on the back of pick-up trucks, the radio programs that people huddled together to listen to in shops and on street corners, the rooftop calls of Allah-o-Akbar, and Imam Khomeini's sermons. Following a period of immense opening and freedom right after the Shah's departure came a strict period during which the new revolutionary state aimed to regulate the public and construct a whole new polity. What did the new revolutionary aural space sound like, and what did it portend about the new Iran? Methodologically, I will consult audio and video recordings as well as written accounts of the given period, in memoirs, journalistic and academic writings. Toward a conclusion, I will highlight those aspects of the urban soundscape that were driven into private spaces under the Islamic Republic. What kinds of aural forms and contents were initially pushed out of the public? I will then show how since the easing-up of the public sphere in the mid-1990s, people have taken increasing charge over the aural output in semi-private spaces, imbuing the public with insertions of the private, and thus actively producing a Tehran soundscape that is politically and culturally contested and heterogeneous.