Sauvik Biswas has been on this planet since 1983. This, being the 2018th year of the common era, implies that he has experienced almost three-and-a-half decades of reception, feedback and introspection. That’s quite a long time for any human being to absorb some ambient noise.
While growing up, he has been assimilating and internalising quite some of them — right from early ’90s Bollywood mixtapes blasting through mono cassette-players of his neighborhood tea shop during his elementary days to generic late ’90s manufactured pop blasting through the tinny speakers of a CRT television during his high school days to old-school electronica, classic and progressive rock curated on the hard-drive of a computer as mp3s sampled at one hundred and twenty-eight kilobytes per second during his college days. This was all before his sense of guilt, pseudo-elitist snobbery, and earnings from a real-life job gave him the impetus to listen to the same set of noises on compact discs and audiophile-grade lossless files via some reliable reference speakers.
As such, he loves noises created by Anu Malik, especially if they are partially filtered through the vocal chords of Kumar Sanu (he limits his exposure to these two owing to the fact that he’s lactose intolerant), Savage Garden, George Michael, Kraftwerk, Opeth, Pink Floyd, Cynic, Camel, Rush, Tool and a plethora of other artists who have managed to convince him (and a few more human beings) that the noises that they have created have some context and grammar and hence, can be categorised as legitimate art forms.
He likes collecting comic books.