Sleepwalk

At 130 the shuffle is the whole argument: clipped hats, a bassline that arrives in short shoves rather than long rolls, and enough swing that the kick never quite lands where you brace for it. Pitched in 3B, it keeps a bright top edge over all that low-end weight, so the energy reads as forward motion rather than blunt pressure.

An energy of nine makes it a change-of-gear record more than a peak-time one — the sort you slip in to shift the room without emptying it. The vocal is sparse, treated, half-swallowed; the groove carries the rest. It won't lodge in your head for days, but for four minutes in the right room it moves with a bit of swagger.