Echoes of the Inveigled is based on a fragment from a field recording of a street demonstration in Istanbul's Istiklal Caddesi. The sonic features of the protest include a group of traditional drummers playing a frenzied looped pattern, while other protestors shout, whistle, and sing. These sounds were filtered and transformed by the acoustic characteristics of the space where the demonstration took place: a long, narrow street bounded on both sides by office buildings and shops. It was one of the most overpowering sounds I have ever heard produced by humans. In this work I chose a short segment of the recording with some particularly forceful drumming. I wanted to explore the idea of what this moment might sound like in slow motion; and since the ear is naturally attracted to the powerful drum sounds, I also wondered what else might be hidden in between them. The segment of the recording that was used is about eighteen seconds long and contains thirty five individual drum strikes. I stretched and segmented these strikes into a longer non-metrical sequence lasting about eleven minutes, and then re-invented and elaborated the spaces between them; not a literal stretching out but a reinterpretation based on my memory of being in the thick of that moment. As I began to dig into the spaces between the colossal impacts of each drum hit, other half remembered sounds emerged: frozen screams, ghostly choirs, shattered whistles, the crackle and static of thousands of cellular phones, the roar of heavy police vehicles.