Mylets is Henry Kohen


Management : Sargent House
Cathy Pellow - Manager
Justin Scala - Day to Day 
Michael Roe - Europe

Label & Licensing - Sargent House 
Marc Jetton - Label

N. American Publicty - US/THEM Group 
Dave Clifford - Publicist 

UK Publicity - Prescription PR
James Parrish & Will Vincent - Publicists

USA & CANADIAN BOOKING - The Agency Group 
Justin Bridgewater - Agent (NY/ Nashville Office)
Zaed Maqbool - Agent (Toronto Office)



Retcon Live from Montreal

Live Audiotree Session 5 Songs



MYLETS: Live at Islington Assembly Rooms 

A skinny, geeky-looking blonde in a vest walks onto the stage. To the unsuspecting, he could be a roadie or a lost audience member looking for the bar, but it isn’t. This is Henry Kohen, the mastermind behind Mylets, Indiana’s one man loop rocker. Humbly he picks up his guitar, greets his audience, then quickly and efficiently fritters away at strings, pedals and a synthesizer. Bemused the audience look on as he lays down the founding blocks of “Trembling Hands” but within a few seconds he punches out riffs that forcefully remove most of our socks!

While his live performance comes across much as he does on his LP, Henry’s sung vocals seem stronger and his screams positively cut through me. The thing that really comes through however, is his energy, which is utterly dumbfounding. He plays everything live and in order to successfully play his complexly layered loops in the right timing, he has to be insanely fast and rhythmical. Even when no sound is coming forth, he seems to be working to an inner metronome and his hands and feet are like lightening. You can watch him perform on YouTube all you want, it won’t compare to watching Mylets live. He follows “Trembling Hands” with his album’s title track “Arizona” and while he speaks little to the audience, they are captivated.

He is impressive to watch and he holds your attention solidly as he storms on through. Aside “Cartilage Colosseum”, all of tonight’s set is taken from Arizona and twice the set Henry stops only briefly to thank ASIWYFA for having him on tour and to make a dedication to a friend. Otherwise he’s a picture of whirring movement and solid concentration, blistering through his heavy rock stylings like a hurricane. After a what seems like much less, he finishes his 30 minute set, with “Retcon”, after which he simply and humbly says ‘Thank You’. To the sound of an appreciative audience’s applause, he exits the stage, making way for tonight’s headline act.

ASIWYFA won’t be far behind.

Set List: Trembling Hands / Arizona / Honeypot / Ampersand / Cartilage Colosseum / Retcon

In Conversation | Mylets on ‘Arizona’, Stanley Kubrick, kittens and The Twilight Zone 


If you’ve yet to get acquainted with Mylets, a one-man wrecking crew with a taste for multi-layered musical structures and a keen sonic edge, sort that out quick smart.

At just 20 years young, Henry Kohen has dropped out of college, crashed on the floor of his record label – the good people at Sargent House – and released not one but two records, the second of which, Arizona, sees him significantly raise his game. Currently on tour with label-mates And So I Watch You From Afar, Kohen took time out of his busy schedule to answer a few questions…

Hi Henry. I just saw on Twitter that some guy smashed your car window. Did you catch him yet?

No, I replaced the window, but the spineless person who did it goes unpunished.

You’ve also been hanging out with some newborn kittens…

Yeah, I was their dad for the first five days and then left for a six week tour like any responsible 20-year-old parent.

Congratulations on Arizona. There’s a lot going on across those 28 minutes…

Thank you very much. Speak less and say more, I like to think.

Speaking of, your recent Audiotree session often resembled a gym session. You make it look easy but have you had any notable onstage disasters, technical or otherwise?

Yeah, every show (including the Audiotree session) has mistakes. I have to accept that as part of the show.

What have you learned between Retcon and Arizona? Has anything significant changed?

Well there were four years between the two and I don’t particularly relate to the person who wrote the songs onRetcon at all.

The production is really impressive, particularly on the guitar sections.

Thank you. That was a collaborative effort between myself and Sonny Diperri, though I’d say he had infinitely more of a hand in how excellent it turned out.

‘Trembling Hands’ has garnered a lot of comparisons to Trent Reznor. Does this please you?

Definitely. I’m a massive fan of his body of work.

Do you read reviews of your own work, generally?

No, I read one and it was very nice, but it reminded me that this album isn’t mine anymore so I decided not to read reviews anymore.

You’ve said previously that “Mylets came to be through a mental need to write and perform music in order to function as a person“. Where do you feel you’re at with that now?

I’m still in that frame of mind. There’s a Twilight Zone episode called ‘A Passage for Trumpet’ where Jack Klugman’s character says it better than I ever could.

Sargent House seems like a pretty cool label to be involved with.

Yes, it’s the best. I don’t know that I could ever trust any other group of people like I trust my friends and family at Sargent House.

You’ve said before that you may one day pass the Mylets moniker onto someone else. Is that still the plan?

Yeah, I’d like to do something like Batman where I can bring in my own Jason Todd, Dick Grayson, Damian Wayne, Barbara Gordon, Terry McGinnis etc. in on the Mylets family without giving up the title myself.

You hail from Indiana. Can you sum up Governor Mike Pence in one sentence?

He’s just the current idiotic face of a much bigger problem stemming from that area of the country.

You’re a noted Stanley Kubrick fan. Would you agree that Eyes Wide Shut gets too much hate? I mean, it’s kind of brilliant, no?

Yeah, Eyes Wide Shut is in my top three of Kubrick’s. It’s incredible and I wish Stanley had gotten to see it fully through to release.

A friend maintains, quite vehemently, that Tom Cruise is wildly miscast in it. Can you tell my friend he’s full of shit?

Both Cruise and Kidman are THE perfect actors for that movie. It couldn’t have been made with anyone else. People who claim they’re not right for the roles are missing the entire point of what that movie is about.

What recent films have caught your eye?

I watched Whiplash and Foxcatcher on the plane ride over to Europe, both were incredible. Snowpiercer was also extremely well done, I love Bong Joon-Ho and it felt a lot like a slightly more in focus Terry Gilliam film.

You tweeted out of a photo of John Cusack in Grosse Pointe Blank recently. Fuckin’ great movie, right?

It really is. Minnie Driver circa 1997 and a stabbing scene soundtracked by 99 Luftballoons.

Is soundtrack work something that you’d consider moving towards in the future?

I would absolutely love to. At the moment, I’m mainly listening to only soundtracks and ambient projects. I think it requires a completely different talent to be able to tackle soundtracks.

What’s the worst gig you’ve ever been to?

Probably one of my own, but I wouldn’t be able to remember it.

Please name one album literally everybody in the entire world should own.

Achtung Baby by U2 has been and will always be incredibly important to me and I would recommend it to any music fan.

Thanks for taking the time. Come back to Ireland soon, yeah?

And thanks to you as well. I hope to be back very soon, I love it there.

Arizona is out now on Sargent House

Birthday Cake For Breakfast - Live Review: And So I Watch You From Afar / Mylets in Manchester 


review via Birthday Cake For Breakfast

With their terrific fourth album ‘Heirs’ released next week, Northern Irish four-piece And So I Watch You From Afar are out on the road around the UK and Europe this spring. This past week they came to Manchester, their second stop having played a sold out show in Glasgow the night before.

This would turn out to be my third time seeing And So I Watch You From Afar, having seen them at ArcTanGent the past two years. I was keen to catch them in an actual venue this time around, as opposed to pissed up in a field at a festival. It’s odd though, as even though one would assume the intimacy and atmosphere might get lost in the open environment of a festival, it was the complete opposite. Their set at last year’s ArcTanGent was one of the highlights of the whole weekend, with the crowd pretty much coming together as one, united and in awe of this fantastic band. So would that feeling translate to the confines of hip Manchester joint Gorilla? I was soon to find out.


Support came from fellow Sargent House roster member Mylets, the one man band project of 20 year old Indiana native Henry Kohen, who is currently riding a wave of hype following the release of his debut album ‘Arizona’.
People have been losing their shit over the new Mylets record on various social media outlets just recently, so I was keen to check Henry out live. Arriving at the venue a little bit later than expected, I sadly missed a song or two, but thankfully caught the majority of the set. The hype is totally warranted it would seem, and in front of a packed out room, this 20 year old dude was thrashing away on his guitar and spitting words out with such intensity. With a pedal board that was making a number of bearded men in the crowd swoon, Mylets was just a total one-man machine. Brilliantly intricate and controlled, his loop work and use of a drum machine was pretty exceptional and the crowd were very vocal in their support.

I’ve been doing a bit of reading up on Henry since the show, and I’m just insanely jealous of his current situation. Living at The Farm, a Sargent House living space located in the San Gabriel Mountains of California, Henry wrote his latest record there whilst spending his downtime rehearsing, hiking and taking care of dogs. I had a brief chat with Henry after the show and he seems like the sweetest dude. An unbelievable opportunity at such a young age, Mylets is going to be one to keep an eye on for certain.

With much fanfare, ASIWYFA entered the swelling room, greeted by a thoroughly enthusiastic crowd. The first three tunes from their new albumHeirs would also be the first three of the evening. The brilliant ‘Run Home’ was slightly marred by an issue with the sound (in that for parts of it, you weren’t able to hear Rory’s guitar) but it was terrific fun to hear it live, having personally played it to death the past couple of months. ‘These Secret Kings I Know’ has fast become one of my favourite tracks from the new album, and it was tremendous here. That guitar sound and the vocal combination are just gorgeous. Without much room to breathe, second single ‘Wasps’ was up next, and it’s a total blast, working a treat in building up the atmosphere in the room. From album number four to album number two, ASIWYFA shifted gears fromHeirs to ‘Gangs’ and blasted into the immense ‘BEAUTIFULUNIVERSEMASTERCHAMPION’ which really lit a fire under the arses of everyone in the room. The whole congregation became one sea of people, all swaying with the sweet, sweet sounds of this dancey staple, and this was pretty much how the crowd remained for the rest of the show. The awesome ‘7 Billion People All Alive At Once’ was a huge highlight for me, having been one of the tracks that really got me onto the ASIWYFA bandwagon, and it really had the crowd swept up and singing along, as did the unbelievable ‘Like A Mouse’.


There was a real intense moment during one track where the band got the crowd to drop to complete silence. That earlier analogy of the congregation becoming one sea of people was most evident here, with such a calm falling over the crowd. It was as if time stood still as everyone basked in the quiet, every hair on one’s neck standing to attention.

I can’t begin to imagine how techy this stuff is to play, and at certain points it actually looked like Rory’s heart was going to explode at any minute with the amount of effort he was putting into it! There was a funny moment when they were starting one track where guitarist Niall put up his hand to halt it before it could begin, having looked slightly overwhelmed with the giant pedal operation that lay before him, which the band just laughed off. It really looked like they were having a blast up on stage, and there was a particularly sweet moment when the room was encouraged to sing Happy Birthday to bassist Johnny. I’ve heard of how the lads that make up ASIWYFA are great people, and it seems very much the case. They seem like the loveliest dudes, and very humble too.

Following on from a set that was made up of wall-to-wall hits, with everything from the new record sounding terrific, where do you go from there? An encore made up of ‘Eunoia’, ‘Big Thinks Do Remarkable’ and the bone-crushing favourite ‘Set Guitars To Kill’, which the crowd went fucking ballistic for. That sing-along for Big Thinks Do Remarkable is always one that puts a lump in my throat, it’s just so wonderful. What a terrific band.

The next time I’ll be seeing ASIWYFA will be at this year’s 2000trees (a preview of which you can find here) – I guess I just can’t escape these lads at festivals! But that’s fine with me.

Before the release of Heirs, I spoke with guitarist Rory to get an insight into what went into this new record and the feeling amongst them as they near in on ten years as a band. You can check that interview here.

Drowned In Sound give Arizona an 8/10 


Read anything related to Henry Kohen aka Mylets and the words 'wunderkind' and 'prodigy' are highly likely to feature. The laser-focused one-man machine may not be able to celebrate the release of his new record with a legal drink in his native Indiana but his youth is simply an intriguing footnote as opposed to a Strypes-like gimmick.

Arizona, his second record in as many years, achieves a state of coherence that often eludes many veterans of the music industry. Over 28 minutes, Kohen makes each one count. He throws punches immediately with 'Trembling Hands', the kind of diamond in the rough song you might find when skipping through a CD superglued to the front page of Kerrang! or Rock Sound. That's not to damn it with faint praise, more an appreciation of its unabashed sonic snark. Comparisons have been made to Nine Inch Nails and it certainly treads a similar spiky industrial and vocal path, but 'Trembling Hands' also serves as the perfect showcase for Kohen's inventiveness and dexterity.

Arizona is out now on Sargent House. See all tour dates and get the album here.

Click on images above to view the full review via Drowned In Sound

The Thin Air Interviews Mylets 

By Niamh Hagerty

At just 20 years of age, Henry Kohen AKA Mylets’ debut album has just been released via Sargent House. Having received exceptionally warm reviews from the likes of NPR and the New York Times, he’s just left California to tour Europe with And So I Watch You From Afar. Koken talks to Niamh Hegarty about some of his time at Sargent House to date and the evolution of his new album, Arizona.

Click image above to view the full interview via The Thin Air.

Northern Transmissions reviews Mylets' Arizona 


Arizona is now streaming in full via the New York Times

The teenage version of a fight between Battles and Tera Melos is perhaps the most unlikely candidate in recent history for a major label debut, and yet here we have Arizona. The brain child of Henry Kohen, Mylets first caught my attention in 2013 when a performance of his song, “Ampersand”, was featured on film for the Sargent House Glassroom recording sessions: words like “prodigy” came to mind when it became apparent that the 19 year-old was creating each and every sound in the song on-the-spot live. There are plenty of loop-rock soloists out there, but Kohen’s intense blend of drum-machine tracking, dextrous guitar playing and angst-ridden vocals makes something exciting and altogether so satisfying to absorb.

Arizona finds the young performer struggling to escape the innocent and awkward notes that his first extended plays, wrapped up recently in the compilation Retcon, understandably failed to avoid. Vocal takes are doubled and often feature a louder or shouted rendition behind the more melodic lead. The real star of the record is the guitar work, which can most closely be compared to Los Angeles math-rock band El Ten Eleven, which also features prominent looping and a masterful knowledge of the fretboard. Arizona moves around more than most of its contemporaries, owing in part to the one-man-band shtick: songs feature plenty of stop-start interludes broken apart by different timings, effects and tempos, some more welcome than others.

The kind of tech geeks that stand at the front of Mogwai shows to photograph the pedal collections are exactly the kind of people that will appreciate Mylets’ variety of sound most. The plethora of unique and mesmerizing sounds coming out of Kohen and his pickups is simply extraordinary, from clean scale structures to radically warped octave effects, thunderous overdrives and layer upon layer of harmonies. First-time listeners would be hard pressed to isolate the lack of a bassist on Arizona—although the drum tracks, by necessity simplified to fit within a live context, fail to hold up to the same level as the plethora of excellent guitar lines on each track.

At this stage in his career, Kohen seems pretty dedicated to the solo musician thing—which could have been a deciding factor in his deal with Sargent House to begin with. Arizona is a phenomenal effort by a surprisingly young artist. As fantastic as Arizona is, what’s just as exciting is where Mylets will go from here. A full band supporting Kohen’s fantastic blend of math-rock and experimental technical wizardry might just help Mylets breathe into the future, but for now the sheer display of prowess Kohen exerts is more than enough to capture his audience’s attention.


Review by Northern Transmissions

GigSoup UK: Mylets Honeypot 


Before you listen to today’s GIGsoup Track of the Day i’d like to point out a few things. First of all ‘Mylets’ is in fact a moniker for Henry Kohen. This talented young man takes on the roles of several musicians at once. Using multiple guitar pedals that line the stage, Kohen also sings and lays down guitar loops while simultaneously tapping out beats on a drum machine. There are NO other musicians when you see this guy live.

When you listen to the track, below remember that information.

Now consider this fact. Henry Kohen is 20 years old. Yes, 20! The maturity in ‘Mylets’ latest single ‘Honeypot’ is beyond his years. This is mixed-genre and edgy, and simply fucking glorious. The confidence Kohen possesses to produce a track of this quality must be off the chart.

The good news is that theres an album on its way as well. ‘Arizona’ has been given a 20th April release date, via Sargent House.

Mylets first came to Sargent House’s attention with a series of self-released solo EPs, much of which were remastered and compiled on the label’s 2013 release Retcon. Around that time, Kohen relocated from Columbus, Indiana to Los Angeles, residing at the artist-friendly Sargent House all the while working intensively on prepping Arizona material for the studio.

In the interim, Mylets also toured extensively on different continents with And So I Watch You From Afar, TTNG and Emma Ruth Rundle. “Because of the range of time spent writing, it was very important for me to capture the concepts of creative and personal growth within the songs on the record,” Kohen says. “I recorded the album twice under very different circumstances in 2014 and on the second round of studio time, I left with a product that I felt was as true of a representation of what was initially in my head as I could have created.”

See Mylets dates here as he goes on tour in Europe with And So  I Watch You From Afar

Pre-order Arizona here.