Plux Quba consists of pieces based around sparse, electronically processed tones and heavily treated spoken word samples.

Canavarro contributed liner notes to the album, instructing listeners to play the record through speakers which are separated from each as far as possible at a low volume, starting from the track "Wask" onwards.

[2] Despite Plux Quba being received positively by the local Lisbon music scene, its small circulation meant that it quickly fell into obscurity.

In 1991, Plux Quba was introduced by Christoph Heemann to several musicians, including Jim O'Rourke and Jan St. Werner of Mouse on Mars, during an informal listening party in Cologne, Germany.

O'Rourke eventually contacted Canavarro, and learned that he made the album whilst largely unaware of the developments happening elsewhere in electronic music, such as the ambient work of Brian Eno.

[1] With Canavarro's permission, Plux Quba was digitally remastered by Toral and released through O'Rourke's Moikai label in 1998, reinstating the three tracks that were left off the original pressing.

In 2018, Andy Beta of Pitchfork placed Plux Quba at 181 on the site's Top 200 Best Albums of The 1980s article,[3] stating that: Thirty years on, Portuguese composer Nuno Canavarro's lone solo work remains as enigmatic and inscrutable as the day it was first released.

Plux Quba was discovered by wily experimenters like Jim O'Rourke, Mouse on Mars, and Oval in the '90s; from there, it became an influence on early ’00s clicks-and-cuts aesthetes, adventurous producers like Jan Jelinek and Fennesz, and present-day shapeshifters like Oneohtrix Point Never and Yves Tumor.

Made up of chiming electronics, processed cries and whispers, electroacoustic études, smeared noise, and scrambled lullabies, Plux Quba skips and glitches between one sound world and the next.