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



Before you listen to today’s GIGsoup Track of the Day i’d like to point out a few things. First of... 


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.

Consequence of Sound Premieres New Track 


Photo by Gerhard Kuhne

At 19 years old, most teens would be happy with a byline in a high school newspaper album review or a DIY show at some local club. But that’s nothing compared to wunderkind Henry Kohen, who knows his way around the guitar better than most veteran rockers.

Under his Mylets moniker, the Los Angeles-based musician straddles the line between noise rock, punk, and alternative rock. His songwriting simply defies genres, though, often marrying intricately-layered arrangements and pop-leaning melodies into one big, lovely tangle of sweat, guitars, and a gnarled sense of angst. It’s both indicative of his age and yet somehow makes him seem wise beyond his years.

All of his skills, technical and creative, will be showcased on his debut album, Arizona, which arrives on April 21st through Sargent House. The nine-track LP follows a series of self-released EPs — compiled and re-released on the label’s 2013 Retcon LP — and was co-produced by Sonny DiPerri (Hanni El Khatib, Portugal. The Man). Already the world’s been treated to album cuts “Trembling Hands” and the title track; now, Kohen has let loose “Honeypot”.

Though its name may trick you into believing it’s a gentle tune soaked in sweet saps, the track is actually a bristling, barbed rocker fueled by restlessness. “It’s a song I wrote the music for while living in my college dorm and neglecting schoolwork during the one semester I went to university,” Kohen explains to Consequence of Sound. “The lyrics came to me almost immediately after getting signed by Sargent House and deciding to leave school for good. The lyrics are meant to reflect the impatience I was feeling throughout the whole process of leaving college and my home along with the internal mental inflation of this new path I was on.”

By Michelle Geslani

Pre-order Arizona here.

Don’t miss Mylets on tour in Europe with And So I Watch You From Afar starting April 28th and catch him before he leaves, in southern California on a few shows with Balance and Composure. Show details and tickets here.

Mylets, the Guitar Wunderkid. JoyRide Mexico 


He’s only 20 years old, released his first album at 17, and watching him perform leaves one mesmerized; his name is Henry Kohen and yes, he is a prodigy.

For people who have such talent engrained, school isn’t something that they feel is necessary to fuel their passion.  As a young student in Illinois, Henry grew tired of the daily routine and wrote to Cathy Pellow, founder and manager of the highly respected label Sargent House, based out of Los Angeles. In his correspondence, a determined Kohen expressed his frustration with school and the music scene, or lack thereof. After a few e-mail exchanges Cathy asked him to pass along his music, and unsurprisingly thereafter, Cathy waited for Kohen to turn 18, making him the youngest artist signed to the label.

Kohen started playing music at the age of 10, and his multi-instrumentalist father was a significant influence in his son’s musical beginnings. For a short period, Kohen tried playing with different people but no one was truly interested in forming a band and left Kohen to fend for himself, so to speak.  Meanwhile, he began learning loops on his guitar. Andrew Bird was a big influence throughout this learning process, as we all know he is all about DIY when it comes to performing his music. Kohen’s sound and style quickly evolved as he started adding percussion and vocals to his guitar loops, making him sound like a complete band.

This was the result:

It all starts with guitars, then vocals, effects, followed by a drum machine, careful layering and rhythm coordination, which, when combined, always result in incredible compositions under the pseudonym Mylets. His style and musical framework has been compared to Trent Reznor, who is also a prominent influence.

Being underage, it is sometimes complicated for Kohen to play certain venues (as the legal US drinking age is 21) but this certainly hasn’t stopped him from doing what he loves. He is already releasing  his second album titled ‘Arizona’ on April 21, 2015. You can listen to the title track here.

It will be released via Sargent House, where he shares residency amongst many excellent bands, such as Boris, Chelsea Wolfe, Deafheaven, and many more. He is also about to head out on an extensive European tour with label mates And So I Watch You From Afar.

For more details on this great artist, his upcoming tour and anticipated release, check out his website here.

By Kevin Fripp

Henry Details the Making of “Arizona” 

I’ve been wanting to do a write-up regarding this album for a few months now, but haven’t found a place or time I considered appropriate to sit down and summarize the several years behind the album I recorded last fall. Considering that right now (March 20, 2015 11:26 PM) is exactly one month (and 46 minutes) away from the day the album will be released, I guess tonight could be considered significant enough to try and tackle this all. My memory is poor so this may get spotty at times, but I’ll do my best to be thorough. 

King Sleep has to be the most fitting place for me to start as it was the first song I wrote for the record. I remember playing this song at several live shows during my final high school year in Columbus, Indiana and specifically remember playing it at my “Tour” Send-Off show in 2012 at Loran B’s house. I had wanted to write a song that felt as though it was programmed by a computer, something devoid of any inherent emotion.


(The show in question. 3/16/2012 at Loran B’s House)

Honeypot, Retcon, and Ampersand were all written in about a month span of time after arriving to my first semester of college. I think the desperation, anxiety, and frustration really shine through and reflect what I was feeling that eventually led to me leaving school. Retcon is very close and special to me and the song I would encourage people to listen to if I wanted to summarize the ideology of Mylets in one song. I titled the album Retcon because it retconned those three EPs I had recorded and I titled the song Retcon because it retconned that entire album and showed a departure from the mindset of the songs featured on it (a mindset of juvenile angst and misplaced, uneducated frustration). 

I left college after one semester after being signed by the Sargent House label. The next year in February of 2013, I packed up all of my music gear and drove out to live alongside the label in Los Angeles. My approach to writing drastically changed as soon as I learned I had been signed. I suddenly was putting an unhealthy amount of misguided pressure on myself because of the environment I was in. This would ultimately prove heavily counterproductive to not only my creative output, but also took a pretty drastic toll on my mental well-being. In February of 2014, I recorded a few the Indiana songs along 6 or 7 other songs I had written in Los Angeles. I went into the studio in a terrible mindset, underprepared, and feeling uncomfortably intimidated by the world. This album along with those songs were all scrapped shortly after that and I stepped away from music for a few months to reanalyze my approach and get back on track.

Homes was written all on my laptop (on the program TuxGuitar) the day I arrived back to Los Angeles from my first North American Tour (2013 with ASIWYFA + TTNG).

Oh wow, hold on I completely forgot. Shark is actually the oldest song on this record, though in a very strange way. The main progression throughout that whole song was actually something I had written on Frooty Loops for a Huckleberry Finn video project for my High School English class when I was a Junior in 2011. I still have the video somewhere and during the closing credits you can hear a very basic piano version of Shark while watching Zane W and I struggle to get off of the row boat we borrowed to shoot the video. I loved that melody, but forgot about it until about a month before I went into the studio in August.


The second half of Seven Seals is also a melody from the high school days. Mackenzie A actually has a cassette recording from a show which has an almost audible version of the song featuring the part I would later adapt to this song. 


That leaves the only two songs that were fully written in 2014: Arizona and Trembling Hands. The main section of Arizona was a little finger exercise that I was constantly playing on my friend Matt P’s incredible 1980′s Les Paul out at the Farm. I had the melody in my head for months and everyone who heard it seemed to be humming it for several hours after hearing it as well. I’m really proud of that song. Trembling Hands (in the vein of many album singles) was a last minute addition. I have a video on my phone from the last day of studio and I’m playing an absurdly chopped version of what I would later change into the main progression. We booked a day a few weeks later to make sure we got the song right and I think we did.

So now that there are extremely rough origin stories for each of the nine songs that made it on to the record, it’s time to go into the studio. On 8/9/2014, I buzzed the gate at Kingsize Soundlabs in Eaglerock, CA and met Sonny Diperri in Studio C.


Over the next ten days Sonny and I worked 9 to midnight as I tracked all of the guitar, bass, vocals, and programmed drums for the record. It was a learning experience like no other! I have journal entries from each day that really reflect how much fun I was having. Hour breaks were taken for lunch and chess matches.

Even with the amount of work I was putting in during the day, I hardly slept at night. I was full of a kind of excitement and naivety I hadn’t felt since I was in elementary school. I was getting my ass kicked and surrounded by as many interesting new problems as I cared to solved and I found myself caring about every single one of them.

Sonny is not only an expert engineer and producer, but also a true friend. I look forward to working with him for many years to come. I attribute a lot of the confidence prevalent throughout the performances on the record to his guidance and persistence.

Rejected album titles (thankfully):

Kirby Dots

Ashcan Copy

Talking is a Free Action

Enemy Mine

On Creaking Floors

The Mighty Jack IV

I decided to call the album Arizona on September 10, 2014.

- Henry Kohen


I very regrettably did not take many photos from inside the studio, but we did have studio assistants take logs of many of the gear settings throughout the record. Unfortunately, all of the assistants used various formats and levels of thoroughness so it isn’t a complete list, but here are the essential pieces of gear that really shaped the record:


For clean or slightly driven guitars, we primarily used a 1970′s Fender Twin Reverb. Vintage Fenders are classics for a reason, there’s nothing really like them.

On some of the more driven bits, we used an Orange Rockerverb 50 Combo which had a real aggressive bite that was nice to accentuate leads.

The studio also had a Roland JC120 handy, which we used sparingly for an almost direct-input signal sound.

On bass, we ran straight into the board through whatever effects we were using.


I really wanted the guitars on the record to be notable for clarity. That meant cutting back on delay and reverb and focusing on placement. Here are a few of effects that were crucial to the sound of the record:

DOD 410 reissue

DOD 250 reissue

1960′s Roger Mayer Octavia

Malekko Diabolik

Digitech Luxe

When delays were used, we used a computer generated BPM-based delay, but I was also very fortunate enough to use my friend Matt’s 1980′s EHX Memory Man and Sonny’s vintage 1960′s Maestro EP-3 Tape Delay along with his 1970′s Roland RE-201 Space Echo.


Almost all of the guitar duties were split between two very different models. For any part that required a significant amount of intricacy and clarity, I used a 1990 MIM Fender Stratocaster with Seymour Duncan Hot Rails (usually on the mid/bridge pick-up).

For the parts where we wanted to take up as much space as possible or assist low-end, we used an early 1980′s Gibson Sonex 180 Deluxe that was sitting at the studio. A naturally dark model, someone had left super heavy flatwounds on it that really allowed it to thicken up choruses.

Electronic Drums

Alesis SR-16 (1990) Console

Alesis HR-16 (1987) Samples

Linn LM-1 (1980) Samples

Roland CR-78 (1978) Samples

Yamaha RX-5 (1986) Samples

I’ve got a whole journal of notes from before, during, and after the recording process. A lot of it is uninteresting and some of it is too personal, but here are two entries I thought worth sharing.

Movies that impacted this album:

Mishima: A Life in Four Chapters (1985)

Il Pugni in Tasca (1965)

The Trial (1962)

Vanilla Sky (2001)

Brazil (1985)

What I hope to accomplish with this record:

Be proud of it for at least six months