The album, which was recorded following two acclaimed singles by vocalist Megan James and producer Corin Roddick, has been described as "personal" and deals with themes of self empowerment and love using graphic, "gory" imagery.

The album received positive reviews from most critics, many of whom praised its contrast between slick pop production and graphic lyrics.

It caught the attention of music blogs, and, following another single release, "Belispeak", led to them getting signed to record label 4AD in April 2012.

[6] Like the previous two singles, the album was recorded separately as James lived in Halifax and Roddick in Montreal.

[11] Shrines is built around Roddick's production, which incorporates down-pitched, distorted vocals, side-chained synths and programmed beats.

[16] Roddick, who does all the instrumentals, has cited R&B and hip hop, as well as artists such as Janet Jackson and Soulja Boy, as influences on the album.

[8][17] The album was produced using digital audio workstation Ableton Live with a very small and consistent set of presets, including those from the Arturia software synthesizer replication of the Minimoog.

[28] The song was ranked at number 85 on Australian alternative music station Triple J's 2012 Hottest 100 countdown, and was recognized as one of the best tracks of the decade by Pitchfork.

"[36] In February 2013, they released a cover of Soulja Boy's song "Grammy", and announced a spring tour with Blue Hawaii.

[18] Hayley Avon of NME wrote that Shrines "could just as easily remain in its closed-circle clique" while being accessible to mainstream listeners, noting that the "music is so slick it sometimes stinks of cash, yet the songs are charming, scuffed at the edges, the childlike melodies accentuated when Megan's voice takes on its youthful tone", concluding with calling the record a "euphoric treat in its own right, made all the more thrilling by its heady potential.

"[43] Mark Richardson of Pitchfork awarded the album a "Best New Music" label, saying "the compulsively listenable Shrines stands quite well on its own.

"[16] Dave Simpson of The Guardian recommended the album to those looking for a "more electro-based companion" of Visions by Grimes,[9] while a review in the sister paper The Observer noted the influences of Shrines to be "of the highest quality (Björk, Fever Ray, Burial), which, at best, bears comparison with them all.

"[44] Jessica Hopper of Spin stated that "the contrast between Purity Ring's two halves is special and compelling, but Shrines goes over best when Roddick's reverent sound and James' lustful fury synchronize and break you off properly, womb-stem-style.

Matt James of PopMatters opined that the record's "familiarity and repetition" somehow try to ruin its "dazzling" lyrical imagery and "divinity here worthy of rapture and reverence", while a Slant Magazine reviewer that the "Manic Pixie Dream Girl vocal qualities" weakens the album's somberness, leading to "an odd and often dissatisfying mix of light and heavy."

Robert Christgau rated the album as a one-star honorable mention, writing, "Displaced soprano asks musical question: is this home or exile.