Skimmed through the score album now.

Yeah, it's what I suspected. More 'suite'-y versions of what you hear in the film, WITHOUT the ticking (in the film it runs all the way through), and in some cases (such as The Mole, The Oil etc) it's cut down versions of what you hear in the film.

But holy fuck, listening to Variation 15 and the End Titles again (which are presented exactly like in the film)....feeling a lump in my throat.

Fantastic stuff

The prologue music - if they'd have included it, it'd come in the 2 minute mark in THE MOLE. But here it just skips through to the score which is like 10 mins later in the film

@Anton yeah just wanted to let you know since you we're wondering if it'll be all over the album. Bummer that most of the cool tweeking and manipulation is done by music editors and most likely won't be on the album. Since you've seen the movie twice, it would be cool if you could tell us how well does the album represent the whole score or are there great stuff cut out?
*I'm on my phone and you answered it while I was writing

Wasn't planning on listening before watching the movie, but searching for the prologue music exposed me to it. I had to leave the house before the whole album was synced so I'm missing 5 tracks. I will listen to them all exepct Variation 15 and end titles, since the rest doesn't rxactly match the actual score which sucks. I expected the suites to give us everything we want and more but...

Yeah, the tracks closest to the film versions are probably, Home, The Oil, Variation 15 and End Titles.

It's out on Spotify already in the Netherlands

Edit: my god, Variation 15 is incredible

Beautiful work by Zimmer.

I seem to be getting hints of Zimmer's Inferno/Angels and Demons score in the Dunkirk score - anyone else?

That and a bit of Inception/TDK.

Clever OST tbh.

This score. Hans zimmer. Woah. It was Incredible in my theater.