Atli Örvarsson's late replacement of composer Gabriel Yared was quite a shock to veteran film score fans. Yared, who has produced powerful and engaging scores throughout his career (namely his "unofficially released" work for Troy--which was also replaced), was a perfect match for the subject matter. Unfortunately, Yared was replaced; fortunately, Örvarsson was hired. The score he provided us with is a wonderful blending of traditional scoring techniques along with the Media Ventures/Remote Control sound popularized by Hans Zimmer. The themes are strong and memorable, the orchestrations are lush and intelligent (a full orchestra is utilize: strings, percussion, brass, and woodwinds. Woodwinds tend to be left out of MV/RC scores these days, much to their detriment), and the atmosphere is fantastic. All sorts of weird and creative electronics have been expertly layered into the score; though, the manipulation does get a bit abrasive during "Vampires and Werewolves." It's wonderful to hear a gothic fantasy score that has both powerful moments and sensitive moments. Yet, even with the two extremes of blood-pumping action and mournful contemplation, Örvarsson maintains a high dynamic of intensity. The gorgeous main theme is heard right off the bat in "Clary's Theme" and reoccurs much throughout the score. A few secondary themes and motifs weave in and out of the score, but Clary's theme remains at the forefront. While I gave this score a perfect 5 stars, it is really to be considered a strong 4 or a weak 5. Some of the action material is a bit generic and not up to par with the rest of the score. However, this score is one of the highest quality scores of the year, and I highly suggest it for any film score fan's collection. I know that I am certainly happy with it!