So, a bit baffled by Christian's review here, some views which seem fair, others seem overly harsh.

That said, one thing that I simply don't understand is when he's talking about the new themes for Jaylah and Krall. He says Jaylah's is the clearest identity, and that Krall's is barely discernible.
This to me is completely backward! Krall's theme, although nothing very original or complex, and not heard enough on album as what I noticed in film, is nevertheless entirely distinct to me in terms of being obvious when it's playing. I remember many louder, more aggresive versions in the film, whereas here there aren't too many like that. Though some of the quieter takes are nice, including that noble/tragic horn version that plays as (SPOILERS), he floats off into space at the end of the film.
Sure it's not pounding you over the head as Nero's theme from the first film, nor nearly as clever and insidious as Khan's theme from Into Darkness, but at least a standardly functional, if underwhelming, villain theme.

Jaylah on the other hand..... I got nothing. I still haven't sensed Anything you could call a theme/motif yet, which is a big dissapointment considering what a cool character she was. Other than some random percussion beats, I have no idea if she has any clear musical representation.

Any thoughts, or suggestions to clarify her material?
Thoughts on Krall's theme, or why Clem seems to have not discovered it? Did he get these two characters confused?