Having fallen in love with local acts such as Cabaret Voltaire and Human League as a boy, Barratt first found fame in the mid-'80s as DJ Parrot at the influential Jive Turkey club night. With partner Winston Hazel, Barratt was among the first to play house music in Sheffield. A few years later, he scored a Top 10 hit with 1988's "Hustle (To the Music)" as one half of Funky Worm with future Moloko member Mark Brydon. In the early '90s, Barratt collaborated with Cabaret Voltaire's Richard H. Kirk as Sweet Exorcist, issuing pioneering bleep techno singles and albums for Warp Records that included 1990's Testone and the following year's full-length C.C.C.D. Later that decade, Barratt earned several more charting hits as part of the Sheffield collective All Seeing I, which included Jarvis Cocker and Philip Oakey among its collaborators. Their cover of "The Beat Goes On" reached number 11 on the U.K. Singles Chart in March 1998, with "Walk Like a Panther" hitting number 10 the following January. Barratt shifted to production in the 2000s and 2010s, working with Add N to (X), Richard Hawley, and Roisin Murphy, among others, as he raised a family. His work on tracks like Murphy's sprawling single "Simulation" reignited his desire to make music, and Barratt began recording song-based house music as Crooked Man with engineer Dave Lewin and songwriter Mick Ward, starting with 2012's single Preset/Scum. After releasing a handful of tracks on his own Crooked Man imprint, as well as Optimo Trax and DFA, Crooked Man's self-titled debut arrived in September 2016. ~ Heather Phares