That’s two years in a row now that Statik Selektah has dropped some of the finest entries in his storied career – no, not with Termanology, but with unexpectedly cross-country, underground favorites. The Boston native is synonomous at this point with the East Coast, a dusthead’s go-to for lively, old school sample chops. While his lineup of close collaborators had grown a bit tired over the years (respectfully, how many Bun B collabs do we need?), Statik has recently branched out to great, quiet success. First, entirely producing 2025’s A Lost Language Found by Memphis MC Lukah, my album of the year and a thorough exploration of African American English’s history, nuances, rules, and cultural value. Statik was able to subtly suit his usual sound to a deep South twist. Now, he continues the Westward expansion by linking up with duo Coyote for his take on classic Cali boombap.
The same way Lukah put on for all of the Black South, Coyote does so on Machetes & Micheladas for Los Angeles. A love letter to the Cali of the 90’s you envision – cookouts, hydraulics, creased khakis, and though Statik keeps them to a minimum in favor of a more People Under the Stairs sound, warbling P-Funk bass that sounds like a fart (the best kind!). Ricky Blanco and Mr. Guap were really there for all of that, but in 2026, they look back at it with a more mature perspective. Machetes & Micheladas equally recognizes the crack, bangin and brutality that left a haze over every one of those sunny days.
That’s not to say Coyote have lost any edge. They may sound comfortable rapping alongside Conway the Machine, surely recruited by Statik, but will quickly turn around to admit, “Got to trade these narcos for some vitamins and fish oils”. On “Letter To My Son“, the duo explores the difficult balance of masculinity and strength with sensitivity and respect. They know as fathers that it’s time to move on from all of that, that it’s not worth it, but it’s never so simple when you’ve inherited a lifestyle and are susceptible to passing it on once again. The storytelling on “A Kid Named Johnny” warns of the very paths of addiction, violence, or victimhood they might go down if not raised right.
In Machetes & Micheladas most gangster moments, they present themselves as quiet Chicano killers. Think the twins from Breaking Bad. At its most upbeat, you know they’ll go party right after jumping you – think Cypress Hill. Latino culture is intrinsic to the album, from their delivery and production motifs to Mr. Cartoon references and the 40s they swig. It’s an underrepresented niche in hip-hop, limited to California and Texas where Mexican heritage is so intertwined with African American.
All of these dichotomies carry over to the album’s feature selection as well. You can tell whether it was Coyote or Statik who recruited each of them, just for their country and style spannings. The West Coast features in particular elevate the album’s LA tribute feel; it’s only right to hear Xzibit, Berner, and even Daylyt here.
Anyway, I didn’t fully intend to write this review. The draft was sitting for months, so I opened it and didn’t want to let it go to waste. I just love the run Statik is on lately, branching out a bit and fully fleshing out the MC’s ideas with skits and features. His new one with Lord Sko is an obvious, much needed link up as well. Give Machetes & Micheladas a listen.