As with all of the band's releases, A Storm in Heaven features enigmatic artwork designed by Brian Cannon. The cover photo was shot inside Thor's Cave in Staffordshire, England. The vinyl LP version came in gatefold packaging.
In a reappraisal of the album, Delusions of Adequacy notes that A Storm in Heaven transcended the other albums of its time:
A highly burnished synthesis of the warbling hard rock of the Doors, the infinite rhythmic groove of Can, the space-fried improvisations of Yeti-era Amon Düül II, and the effects-pedal anchor of My Bloody Valentine, A Storm in Heaven may well have been the best neo-psychedelic album released in the 1990s. While often clumped together with the other English bands leading the shoegaze movement during the same time period, the Verve was creating a far different version of the thick atmospherics the genre became known for. Despite some minor cosmetic similarities, Loveless this was not. In fact, I’d go so far as to say that guitarist Nick McCabe gazed shoe-ward with far better results than Kevin Shields ever did. While Loveless remained firmly anchored to the early-90s British scene, A Storm in Heaven flew figure eights somewhere over its head.
Verve were a million times better than MBV, IMO. Until the singer picked up an acoustic guitar and Verve