The music itself is approachable but unmemorable, much of it either small but not cozy or emphatic but not dramatic (pardon the rhyme). Track four, "Fezziwig's Jig," is supposed to be raucous, but it's too mannered, and "Marley's Ghost" calls up all kinds of cartoony dread but nothing even vaguely upsetting. Putting Kate Winslet's pop song "What If" in the middle of the album seems an odd choice of location--an incongruous attention-getter at best. (I liked "What If"; you can read my review of it, from a year ago, here.) Lastly, I could have done without Charlotte Church. Take this as a criticism, an observation, or a point of dispute, but she sounds like a boy on "Quis Est Deus," and on the inane "It's the Heart that Matters Most," she falls into the trap Winslet avoided with "What If": overearnestness.