Minneapolis sound — the lean, machine-driven funk of Prince (Dirty Mind, Controversy, 1999), the Time, Vanity 6 and producers Jimmy Jam & Terry Lewis. It took the horn section out of funk and put synthesizers in its place.
How it sits: a Linn LM-1 pattern: snare and handclap layered on 2 and 4, the clap on top, kick on 1, the "a" of 1 and the "and" of 3 (moved to the "and" of 3 and the "e" of 4 in bar 2). Straight sixteenth hats, accented on the eighths, never swing. The piano layer stands in for the synth stabs that replaced horns — a four-note Dm7 voicing hit short on the kick's syncopations, with a G7 push at the end. The bass is tight and staccato, every note a sixteenth, jumping octaves and pick-up runs into the next beat.
Listen for how dry and short everything is: lots of space between hits, the clap the loudest thing in the room.
Practice: play the stabs as short as possible — lift the hand off the key instantly. Compare new-jack-swing, which swings this.