#8 “Subject: Erik Evol”

 

                                                                 Quantum Anonymous #8

“Subject: Erik Evol”

 

No shortage of odd bits about this Quantum business. Perhaps what’s most peculiar are the personalities involved. Odd birds, flying all about. Last people in the world you'd ever associate with the military or the government were hand in glove. Characters like Fabian Kevorkian. Rock and roll icons like Erik Evol. Tough to line them up with the United States Air Force. But that's who pressed the button on all this, long ago.

“Aviation’s finest achievement” they’ll tell you, the The Air Force will.

They damn well didn’t draw on the finest of humanity to achieve it.

When your Air Force realized what an utterly disorienting mess Quantum was, they reckoned they’d need some real odd birds to fly the thing. Tried pilots, but found them all a bit too squared away. Training and discipline inhibited their ability to "go with the flow", so to speak. Next came adverts in the newspaper. Fast cash for hard-luck types, designed to find the shakeouts of society. Those poor buggers didn't fare any better when thrown through the veil. And that left The Air Force scratching their noggins, wondering who in God's good earth might fly through the Devil's mess of Quantum.

Until one day, they saw stars.

Rock stars.

Rock stars were a new phenomenon. No one in the history of humanity had lived like these blokes. Mass media, electrical waves, radio broadcasting, amplified forces all around them, night and day. They were always moving, leaving and arriving, mostly in chaos and often in drama. Pressure in the studio, panic in the streets, jetting through time zones and living in essentially dislocated reality states, they were. And that living was fast, taking each day like their last. Met more geezers in a single week then their ancestors might meet in 15 lifetimes. Real 20^th Century thunder it was: screaming people, screaming music, screaming amphetamines blazing through their brains…

Sure, they were self-destructive, lots of them. Drugs, sex, booze, all the chemical charges and changes of hard living had their say. Prone to hedonism. Fond of pushing limits. Most of them young, as well. Minds rewired by all this, becoming neuro-chemically different than any member of humanity had ever evolved to be.

Lots of them were real charismatic, too. Born leaders with pathological levels of confidence, naturally attracted to extreme experiences. Some were right unbalanced, or got that way in the process of global fame. That matched Quantum demands rather nicely, it did. Air Force figured if they were unhinged to start, it wouldn’t be much trouble to frame things up when they fell apart.

“Pop star life, really tears these lads up,” type of obituary in the press. Give the church a chance to moralize, Mum has the moment to wag her finger, punters at the pub say “stupid bloody sods” and feel better about dying slow at steady jobs.

All that added up right proper for piloting “Aviation’s Greatest Achievement”.

“Right, this rock star lot will do,” says the Air Force.

And on we go to interdimensional, quantum travel.

Only problem was lads like that don’t line up to serve their country, so to speak.

What’s to be done?

Bring on the “Fabian Kevorkians”.

If that’s his real name, I’ll eat my boot. There was nothing real about the man except that everything was false. Hardly even produced. True, he was an engineer. That part was right. But he wasn’t a musical engineer. He was a human engineer.

His essential job at the BBC studios was psychological.  Profiles of all the blokes recording in his booth. Music was just a byproduct; the main product was those blokes. We all found out fast just how much “magic” Fabian’s production really had. Musically speaking, he knew his tunes and knew what he wanted. Getting that was everybody else’s business. Engineers did all the heavy lifting, and from there it was unseen hands in L.A. The old “let’s send the tapes to RCA for mastering” maneuver.

Out west, those tapes would be glazed by a right proper producer. Sometimes redone entirely. But credits and points all went to Sir Fabian Kevorkian, and none were the wiser.

And few people were wiser than Fabian Kevorkian. I said the man was fake, which is true. But he was no fraud. With instruments and arrangements, he was very hands on. That man knew music and he knew how to noodle. He’d be chatting right away with every lad in the booth. The course of those chats was obscurely psychological. Nobody knew that at the time. We just seen Fabian scratching away at his notepads and figured they were arrangements for the songs. Later we’d realize he was arranging profiles for the bloody Air Force.

That was where his magic really transpired. Sir Fabian was a genius for getting the lads engaged. Lots of these musicians were real mumblers, see. Blokes who come up rough, not much to say. Fabian would get them chattering away like they were old mates. Few pints in them, he’d get everything he wanted out of ‘em. Scratching away on his pads, twirling those knobs, prodding a bit, nodding lots, relaying sounds, testing chords… None of that was for music. All of it was for the Air Force.

It was Fabian Kevorkian who first assessed Erik Evol, lead guitarists of The Get Quick, in a routine psychological profile made during the recording of POP!

That assessment started on scratch pads in the studio. Notes like that have drifted away. But your Freedom of Information act here in the States is quite something. Found myself the official profile on Erik, probably written by Kevorkian himself:

 

 

 

CONFIDENTIAL – U.S. AIR FORCE PSYCHOLOGICAL PROFILE

SUBJECT: Erik Evol

DATE: September 21, 1965

FILE #: QNT-1967-EE67

CLEARANCE LEVEL: TOP SECRET

NAME: Erik Evol

DOB: October 31, 1945

NATIONALITY: Dual U.S./German Citizen

OCCUPATION: Lead guitarist and vocalist, The Get Quick

CURRENT STATUS: Under observation for Project Quantamp

BACKGROUND

Erik Evol, born Erjc Vanderwolf , is the frontman of the emerging psychedelic rock outfit The Get Quick, a band known for their sonic experimentation, high-energy performances, and rumored association with subversive underground movements.

Evol has been identified as a potential test subject for the Quantamp project due to his uncanny ability to manipulate sound frequencies beyond known physical properties.

At age 14, Evol displayed extraordinary aptitude for guitar, developing techniques that reportedly induced mild hallucinatory effects in listeners. Early interviews and testimonials suggest he can sustain harmonic resonance at inaudible wavelengths, which, under controlled conditions, have been found to induce minor temporal distortions in test environments.

 

PSYCHOLOGICAL ASSESSMENT

PERSONALITY PROFILE:

Highly charismatic, with a natural ability to command attention in any setting.

Displays an obsessive focus on sonic perfection and alternate tunings, believing music can “unlock doors to places we forgot existed.”

Expresses a simultaneous skepticism of government institutions while maintaining fervently militant anti-communist sentiments. Susceptible to tailored messaging, particularly those framed as libertarian freedoms within countercultural rebellion.

Risk-taking behavior: Extreme. Documented instances of self-experimentation with sensory deprivation, frequency-induced altered states, and possible involvement in esoteric sound rituals.

Cognitive Processing: Unusually high auditory sensitivity; can detect and reproduce complex waveforms instinctively.

RELEVANCE TO PROJECT QUANTAMP

Evol’s unique auditory perception, combined with his reckless pursuit of uncharted sonic landscapes, makes him the ideal candidate for testing The Quantamp.

Ley Line Sensitivity: Preliminary tests suggest he is naturally drawn to high-energy geomagnetic locations. He claims he can “feel the Earth hum” in certain places, describing these sensations in terms consistent with classified geophysical resonance data.

Dimensional Awareness: In an unguarded interview with K, EVOL described a recurring vision of “stepping through the sound” into “other places where the notes go when you stop playing.” This statement aligns disturbingly well with Project Quantamp theoretical models.