The follow-up to Tennyson’s aka, plx — pronounced “plicks” — was released on July 3, 2026. It is a short EP, only six tracks and around fourteen minutes long, but it still feels full of tiny ideas. Interestingly, these songs were originally made for aka but did not make the final cut, and aka itself is the bonus tracks zip for Rot’s Japanese version; it’s the b-side b-sides, which makes plx feel like a collection of soft sketches and small experiments that somehow found their own shape.

The opening track, plx, feels like a brief door into the project. Soft sounds drift around the edges of your brain, floating lightly.

On CHARM, Tennyson continues to shape vocals almost like texture. The voice carries a slight autotune color, not to make it glossy, but to make it feel more fragile and artificial in a very intentional way. The track begins with layers of dreamy piano melodies, then gradually shifts in the second half as the beat moves toward breakbeat. With the glitchy details and sharp little cuts, it starts to feel like a tiny live set happening inside the song.

little lizard :-） might be the cutest track here, and also the one that feels closest to the Tennyson I first fell in love with. The upbeat rhythm keeps the song moving forward, while the whispered vocal sounds almost like a tiny creature talking to you in its lowest voice. Maybe it is a baby voice, or maybe it is the lizard itself. There is a small sense of provocation in it too, like the lizard wants you to notice it, but never actually lets you catch it.

Then the drums become bouncier and more broken, and the whole track turns into a little chase. It feels like you and the lizard are playing a strange game of hide-and-seek: playful, slippery, and just a bit mischievous.

He’s hiding in the back of the couch

ooh he’s a little lizard

He’s just a little little lizaard

He’s just a little guy

He’s just a little lizard guy

another way??? brings a slightly darker shade to the EP. The echo, reverb, and sense of space all feel much wider here, making the track sound more distant and almost sacred. The percussion gives me the feeling of hearing drums inside a quiet temple, hollow and surrounded by air.

plx feels like a small collection of experiential music. The idea of “b-side b-sides” does not mean these songs are rough or meaningless. Instead, they feel like fragile little experiments full of tiny details. Tennyson is still creative in the same way I’ve always loved. He’s able to make even the smallest musical idea feel alive.

Blog Date: Jul 3, 2026