She became an established figure following the release of Late Night Delight, her 2013 split album with vaporwave artist Ryan DeRobertis under the alias Saint Pepsi.

She participated on plunderphonics trio Death's Dynamic Shroud's remix version of I'll Try Living Like This, and continued her career with albums such as Noir (2016) and High Society (2020).

[10][11][12] Adam Harper, writing for music publication Electronic Beats, chose Late Night Delight as the best vaporwave release in 2013, alongside Computer Death by Infinity Frequencies.

"[5] Mac Tonight, the McDonald's mascot featured in the artwork, became a vaporwave icon; the character's actor, Doug Jones, was surprised upon discovering its impact in the genre.

It featured what Ryan Simpson of Tiny Mix Tapes called a "suitably impressive lineup," including aliases such as DeRobertis' Saint Pepsi and George Clanton's Esprit Fantasy.

[c][33] Lux's first EP, Controversial (2014), received praise from Japanese publication Mikiki for continuing the sample-based tradition of vaporwave, and its track "Vengeance" was included in a video by artist collective Everything Is Terrible!.

[34][35] In September, Lux collaborated with vaporwave artist Skeleton Lipstick on the album Stay Passionate, Be Discrete, featuring artwork by electronic musician Keith Rankin.

[44] In November, Lux collaborated with vaporwave trio Death's Dynamic Shroud for a remix version of a track from their album I'll Try Living Like This, and produced new material for a radio show by 2814 member Hong Kong Express.

[49] Oliver Bothe of German magazine Éclat noted the record's kitsch and film score sound, while music publication Tiny Mix Tapes wrote that it "jettisons vaporwave's weighty, psuedo-academic treatment of critical narrative — chic critique — for a more familiar dialogue, one defined by finitude and linearity.

Also in 2020, Lux was invited by Tobacco for his release party of Hot, Wet & Sassy; after knowing of Fec's liking of the Luxury Elite project, she described the event as "a full-circle moment.

[60] Also in 2022, Lux released a video album for 1-800-TONIGHT (2022) under the alias of the same name, which initially caused confusion among some who thought it would replace the Luxury Elite project.

[11][14][15] 2814 member and anonymous musician Hong Kong Express described Lux as "perfect" in her late night lo-fi sound and depiction of romantic themes,[62] and commented: "If Vektroid is the 'Queen of Vaporwave', then perhaps luxury elite can be considered its princess.

From album titles (Blind Date, Late Night Delight) to specific songs ('First Kiss', 'Debonair'), Lux has a way of channeling these aural impressions as brief, beguiling spritzes.

[4][5] Her passion for the 1980s was influenced by Tobacco; Lux's use of various 1980s video tapes for the visual version of Fantasy was mainly inspired by his style of sampling on Fucked Up Friends (2008).

[5] During the project's beginning, she was also heavily influenced by the 1982 K-tel compilation Neon Nights, which later became the name of Luxury Elite's online radio show.

[5][57][73] Artists sampled include Al Corley, the Crusaders,[56] D Train,[5] Eighth Wonder,[56] General Caine,[60] Jesse Johnson,[4] Michael Jackson,[74] and Paula Abdul.

[75] According to Brazilian writer Ícaro Estivalet Raymundo, Lux's laid-back melodies and soft musical textures "evoke the special late night hours, intended for melancholics.

[70] Despite certain publications' attempts at linking her work to political commentary, specifically "late capitalist nightmares,"[73] Lux stated she never considered this perspective, instead focusing on aspects of 1980s nostalgia.

By removing the lyrics "I want to rock with you / All night" from their original context and looping the latter portion, Lux suggests, according to the writers, disguised sinister intentions manifested by an uncanny form of déjà vu.

He observed that, despite not appearing to feature significant modifications, Lux changes the track's emotional tone in a "fascinating" way, with its music video emphasizing this.

With this, Walters analyzed, the record's sound evokes a fictional noir version of Tom Cruise's Cocktail (1988), "full of smoke-filled scenes of low-lit bars and brutalist executive suites.

[70] Of Noir, Miles Bowe wrote that Lux's incorporation of more relaxed melodies is heard throughout, exemplifying tropical-like sounds on "Future" to a moodier tone on "Desire".

[11] He highlighted the emphasized use of bass and praised each track's uniqueness within the record, "ranging from cozy locked grooves like 'Raindrops' to the chintzy strut of 'Future'.

[49][50] "Lounge" and "Dreaming" emphasize the sax's sound,[47] with Tiny Mix Tapes stating that the latter presents the "ontological finitude that Noir embraces.

"[55] The record is dedicated primarily to developing simple melodies within glitch-led progressions,[58] including songs like "Dancefloor Euphoria" and "Another Scorcher".

In it, a more multi-layered instrumentation approach is taken; "Ocean View", for example, presents a metallic synth sound in the background, while the end track "William and Julianna" features a guitar riff.