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The song covers a track by English indie pop group The xx and peaked at number 50 in the UK. " Shelter" was released as the second single from the album on 3 June 2011.
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The cover reached a peak of number 17 on the UK Singles Chart. " Skinny Love" was released on 30 January 2011 as the first single from the album, which was a cover of a song by American indie folk band Bon Iver. Rolling Stone critic Jody Rosen was more critical, panning the album as "the most boring music ever recorded by a teenager" and concluding, "No one so young should have such flawless taste in Quality Indie Rock, or sound this bummed out." Singles James Lachno of The Daily Telegraph wrote that the album "consolidates the buzz with more sparse, affecting covers, and a lone original track that is adequately folkish, but for now Birdy remains a novelty." Chris Conaton of PopMatters wrote that Birdy "proves that she can really sing but appeal may depend on how much enjoy desperate, aching piano ballads, because there are a lot of them here." Duncan Gillespie of NME dismissed the album as "an album of wet-indie covers". While praising "Birdy's simple piano/guitar arrangements and her own sweet voice", The Guardian 's Caroline Sullivan found the album to be "pleasant but pointless".
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Hermione Hoby of The Observer praised her covers of "Skinny Love" and "Shelter", while noting that the self-written track "Without a Word" "suggests she might become even more than just a startling voice." has found herself very quickly touted as one of the brightest up-and-coming talents in the UK," Andy Baber of MusicOMH wrote. "With a voice that defies her tender years, Birdy. which points to a great future" for the singer. AllMusic's Jon O'Brien wrote that "this stripped-back collection of lesser-known hits and album tracks reads like a who's who of lo-fi hipster indie rock", praising Birdy's "youthful and fragile" voice and concluding that "thanks to her haunting tones and a tasteful yet compelling production, it impressively avoids being the try-hard affair you'd expect." The BBC's Nick Levine called the album a "clever covers set. At Metacritic, the album received a score of 61 out of 100, based on 10 critics.
#Birdy shelter notea professional#
The whole idea of Birdy sounds like a transparent attempt to court a more credible audience, but thanks to her haunting tones and a tasteful yet compelling production, it impressively avoids being the try-hard affair you'd expect.Critical reception Professional ratings Aggregate scoresīirdy received lukewarm reception from critics.
![birdy shelter notea birdy shelter notea](https://64.media.tumblr.com/820dd2df88f38322714a442ca9048b3d/4f27acb9f9ab4636-39/s640x960/9b803fe18c0712f61226cf66b48ee0c7b13c713e.jpg)
As clever and subtle as these reworkings are, it's Birdy's youthful and fragile voice that steals the show, whether it's replicating the multi-layered harmonies of Fleet Foxes' "White Winter Hymnal," providing a poignancy to Bon Iver's "Skinny Love," or showcasing her scale-gliding abilities on the Postal Service's "The District Sleeps Alone Tonight." The gospel-tinged cover of James Taylor's "Fire and Rain," the only track to sound more expansive than the original, feels slightly out of place, while the unremarkable balladry of the only original composition, "Without a Word," suggests she might have to work a little harder on her songwriting skills if she's to avoid becoming a one-trick pony. The likes of the National's "Terrible Love" and Francis & the Lights' "I'll Never Forget You" offer little deviation from the source material, but for the most part, producers Rich Costey (Muse), James Ford (Arctic Monkeys), and Jim Abiss (Adele) strip the songs down to their bare bones, turning Cherry Ghost's everyman anthem "People Hold the People" into a tender torch song with its stately piano chords and mournful cello, toning down the aggression of the Naked & Famous' synth pop hit "Young Blood" with some muted beats and ethereal twinkling electronica, while somehow turning the already sparse "Shelter" from the xx's Mercury Music Prize winner into an even more skeletal and ghostly affair. Indeed, you won't find any karaoke standards or renditions of Miley Cyrus songs here, as this stripped-back collection of lesser-known hits and album tracks reads like a who's who of lo-fi hipster indie rock. But although its 11 renditions of mostly contemporary songs, many of which could be passed off as originals due to their previous lack of exposure, stick to the tried-and-tested talent show formula, that's where the comparisons end.
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