For starters, he’s been running his own Kaleidoscope imprint since 2007, issuing cassette-only releases from the likes of London audiovisual duo Sculpture, Michigan born producer du jour Karen Gwyer and Taiwan based artist Yearning Kru.
Through a steady stream of output, Kaleidoscope has helped define a new leftfield electronic sound while building a reputation for being refreshingly unpredictable.
Patten’s own music is also as notoriously tricky to pin down. He has periodically altered his sound to reflect his latest musical leanings and arrives at Warp with a healthy appetite for electronic subversion.
His debut album There Were Horizons from 2007 was a delicate exercise in melodic layering. Fuzzy tape loops of decomposing acoustic guitar ebbed from tracks like Galapagos and Never Never, echoing the circular mosaics of early Bibio.
Later, 2011’s scrambled GLAQJO XACCSSO revealed the full extent of Patten’s experimental bent. Blending the synth sounds of Boards of Canada with restless beats and the textures of Plaid, the record harked back to Warp's classic mid-nineties heyday.
Following a lengthy hiatus from releasing his own music, Patten issued his debut EP Eolian Instate for Warp last month. The release neatly picks up the thread from his last record, unleashing more chaotic electronica akin to fellow Londoner Actress, and cementing his position firmly in the leftfield camp.
And, with the weight of Warp now behind him, it looks likely that 2014 will hold no bounds for this enigmatic music-maker.