These things work on a somewhat subconscious level. I think in telling yourself it doesn’t make logical sense it has now stuck out where it shouldn’t (I believe if one combed the sound mixes of any film with a fine tooth comb they would find plenty of stuff like this). When you’re watching the film, it’s so quick, you’re not deeply analyzing like that. You’re thinking, okay, they’ve got to get onto the Falcon. So in a quick shot you see them running and hear the Falcon opening. You know they have to get to it and the door has to open, so the film supplies you with that - in the moment you’re not thinking of the order it has to happen, you’re just feeling the scene being pushed forward.

That’s absolutely what the uncomfortableness comes from. The door opening is one solution and destruction effects could be another, either way you’re pushing the immediacy of the moment forward (which is lacking with the sparse sounds of wind music only).

As for the revving of the engine, that’s more of a J cut than anything else. We aren’t necessarily supposed to think that Rey is turning on the Falcon in that moment - it’s more the sounds of the next shot coming in early as a means of transition.

And then there’s the hiss of the Falcon when they board which is just there to give it a sonic presence (and match with the air exhaust).