[3][4] The couple recorded Luca during her mother's third trimester of pregnancy using MIDI biosonic technology to pick up electromagnetic impulses and translate it into digital sound which was then manipulated by synthesizers played by Diaz Mathé.

[6] Per AllMusic's Paul Simpson, the album consists of "a strange mélange of rapidly pulsating heartbeats, amniotic textures, and reflexive movements, resembling an unstructured blend of dark ambient, post-industrial, and glitch" and is "entirely at home on a label that sometimes releases horror film scores".

Regarding the latter statement, Simpson particularly notes "the clattering, swooping" "V5" which "could easily soundtrack an intense psychological thriller", and "V1" "feels more like a fractured broadcast from another dimension, straining to transmit some sort of coded message."

On the other hand, "other tracks feel much lighter -- Hart must have been in a more relaxed state when "V2.1" was recorded, as it sounds significantly more tranquil and weightless, even approaching a simple melody and faint, rippling beats before bursts of delay drive it back downward", "V3.2" "sounds more like several streams of water drops trickling into a pool in a cave, gradually clustering before somehow resisting gravity and scattering outward", and "V4.2" "begins with flute-like notes which become suspended before gradually elevating, recalling some of Pauline Anna Strom's alien soundscapes.

The album's aesthetics "are not completely organic or natural, so there were likely more artistic liberties taken on the production side than Hart or Mathé are willing to admit", and with its "fully realized" "dank and ethereal soundscape" seemingly being decided ahead of recording, "it's disappointing that the couple didn't do much to build a narrative based on their relationship with Luca", possibly by "demonstrating the progression of the pregnancy through subtle changes in tone".