BY: JESSE ZAPATERO

For over 15 years, CHICANO BATMAN has interwoven the sounds of Latin music, echoing the legacy of L.A.'s musical giants while carving out a space uniquely their own. Comprised of Bardo Martínez, Eduardo Arenas, and Carlos Arévalo, Chicano Batman embodies the essence of past, present, and future sounds. Their latest album, "Notebook Fantasy," delves deep into the personal journey of its creators. This album serves as a narrative of growth and the pursuit of artistic freedom. 

Chicano Batman stands out as one of the most authentic and genuine bands in the industry. Their consistency shines through in every project they undertake, each possessing its own distinctive STRENGTH.

"This album is our Steely Dan, Fleetwood Mac record. Our most sonically transparent and sincerest lyrical journey..."

Notebook fantasy is a testament to this ethos. It epitomizes extravagance, ingenuity, and genuine emotion. From the infectious nostalgia of the band's trademark neo-funk to the captivating orchestration, each track has a unique offering. Whether it's the strings of "Parallels," the groove of "Beautiful Daughter," or the mind-bending psychedelia of "Lei La," every element is skillfully crafted. Chillwave to Spanish ballads, they showcase versatility while maintaining a cohesive mood of pure joy & authenticity. It's undeniably their most expansive work to date.

In this exclusive interview, we had the honor of chatting with the iconic trio about their creative process, inspiration, and their latest album, before their extensive tour spanning over 40 shows in the US, Mexico, and the Netherlands.

 Hi guys! We had so much fun with you on set. What have you guys been up to since we last saw each other?

Carlos: Thank you, we had a great time as well - We just played Jimmy Kimmel Live which was a highpoint for the group. As a LA band it was a big deal to grace that national stage representing our hometown.

Your album, "Notebook Fantasy," is your most expansive LP to date. How did the creative process for this album differ from your previous works?

Bardo: My process has always been similar since I was a kid. I remember that faithful day in kindergarten class when I played with all the shapes on the floor. I went crazy on those trapezoids. my mom says that I always rocked the crayons at age 3. I have a wild imagination and I go all in when I’m stoked about something. That’s kind of a funny explanation but it’s true for me. what has changed is the instruments, the know-how, the skill set, the people I’m bouncing off of. Truth is I’ve grown leaps and bounds from working with my band members too. The first record was a free for all jam, where the guys turned my lil pop songs into prog rock odysseys, and I was along for the ride. For the ep, I went home and was like I can count too. you do 13/8, well I’m going to do 7/4 and then go to 4/4 on the next section and back. They turned me onto all this musical adventurism. The prog rock was fun, but I was like, well...I just want my songs to sound like real songs. You learn about what you want to make based upon what you made before. I pushed really hard to simplify the instrumentation and create a focus on a trad song structure, verse, chorus, etc...in other words have instrumentation serve the song. The vibe between us became competitive and led to a lot of discord because I pushed so hard in my own direction and the guys pushed back. All this friction created some dope records: Cycles of Existential Rhyme, Freedom is Free, Invisible People.  With this record we opted for a healthier approach, our perspectives are still different, but we know what each of us are about and how we can support each other. For me, I’m still the same creative kid, but I’ve also learned to appreciate my band members for what they bring, just like anyone of the amazing artists and musicians I’ve worked with over the years, especially as I’ve embarked on making my own “solo” music and doing my own shows. Everyone you work with from musicians to producers and engineers brings their own magic and mark the sound and impact the energy of the music. When we worked with Leon Michels, we all grew leaps and bounds after that experience. Working with John Congleton was equally as instructive and life changing. You know it’s hard to quantify this. I’ve been describing it as a threshold expanding inside the brain. I feel it in the form of euphoria, when I feel it know that I’m in a different place and I’ve never felt anything like that before. Notebook fantasy had tons of these moments, from the initial songwriting process, the hangs, the studio, mixing, etc...

How did working with producer John Congelton influence the direction of the album, and what did he bring to the table in terms of shaping its sound?

Carlos: John encouraged us to record an album that was clear, big and full of dynamics. To achieve this, we recorded the basic tracks at the historical Sunset Sound Recorders using a legendary API recording console that has been used on countless timeless albums. With this studio and Congleton’s producer prowess we were able to get the most fat and colorful music takes we’ve committed to record to date. John was also essential in helping us get beautiful string arrangements on some of the songs by calling in his brilliant arranger friend Jherek Bischoff to chart out amazing string arrangements.

Why was "Fly" selected as the lead single, and what inspired its euphoric tune and the 70s-inspired music video?

Bardo: Our manager just told us that our label ATO chose Fly as the single. At the time, I was relieved that it was over, so I didn’t fret over it...I just jumped into my wife’s sister’s pool. The record was in. It took me 3 months to finish my vocals on the record. I’m not ashamed about that at all, I’m actually proud of that because I knew that I had to go through that process to get those results. Big shout to Nicci Funecelli who came in a vocal coach/engineer. She would pull up to my studio and space and we just record even when I had absolutely no inspiration or motivation to do anything. I self-recorded a lot of the vox too, just day in and day out, take after take, trying to out match the last one until it had the right vibe. I had Eduardo come in and give me feedback, he was very supportive and also very honest, and I was open to it. My wife Laura was brutally honest, but we owe my takes on Notebook Fantasy to her. I would try to explain my intentions, but she was like nah I don’t feel it, put a real vibe into it. Thanks bu. 

Fly- well, it was much slower originally, Carlos brought in the slick R and B vibe with his signature melodic vibe. We liked it immediately. Originally, I imagined a Mac DeMarco type of vocal approach in a lower vocal tone. The vibe was sexy, the concept came in a session. Carlos also called me and was like, “Hey you should get sexy with it.” I was already on that vibe from the get, but i took his call as a vote of confidence for that direction on his track. Seductive lyrics were floating around, then i was just trying to figure out the chorus, i mapped out the vamp jam we recorded and the there it was: “I, wanna fly, with you, wanna fly”....it just reminded me of something you would hear on the radio. I love that you felt euphoria in it, the music is definitely hyped. The chorus alludes to sexual euphoria. It’s an invitation to let loose in that way. For me, i’m just talking to my wife: like hey, let’s just let go of everything for a moment and get nasty yeah?

The Video: it was directed by the Giraffe Sisters, actual sister duo in LA, was impressed by their aesthetics, super bold and vibey. We homed in an understanding over a few calls, talked Prince and Parliament...described the sexy inspo for the track, a new aesthetic direction for us. I was definitely on this vibe at our shows. I spent every morning of 2023 doing the Bruce Lee ab work out with the Hollywood Bowl Performance on the horizon. I’m going to get cut, and I’m craft a vibe, I’m going to go Bowie with it....I’ve never had earrings before so i said fuck it and I pierced my ears, I’m going to impress this crowd with my appearance, draw them towards me aesthetically....so I spent a bunch of money on tight designer pants, and got some gear from my friends Sister Kokoro Vintage. That whole thing fed into the whole visual aesthetic of the record, the photography and the album package put together by our friend Josue Rivas, who is an extremely soulful creative. The visuals definitely took a turn towards glam....just went down that rabbit hole. It also pushed Eduardo and Carlos to craft their own unique look and persona as well.

All this fed into the music video. The Giraffe Sisters definitely created a really awesome, very compelling visual package that really resonated with a lot of fans and new fans alike. Felt like a new crowd was into it. Seemed like a lot of die-hard Chicano Batman fans were not so keen on it. But that's not so surprising, it's kind of a typical response to change from the day one fans. Not trying to shit on anyone though, for me it’s all about being true to your artistry. I'm glad we busted out the first single this way because that's what real artists do. If I wanted to be an entertainer, I would do covers and sing weddings, or play oldies at the Santa Fe Springs Swap meet. The point is, just because I'm in the entertainment business, doesn't mean I’m an entertainer.  It's a fine line I know, don’t matter if you get it or not, but I’ve definitely worked my ass off to be an artist; so, you best believe I’m going to express myself the way I want to. 

For 16 years, you all have built a dedicated fanbase, becoming an iconic staple. How do you maintain authenticity while evolving as a band?
 Eduardo: When I was in high school, I was a guitar shredder with a lot of rage and found and outlet through metal music.  When you identify as a metal head you stay a metal head for a long time. When I got to USC at 18yrs old, latinos made up less than 8% of total students. I didn’t fit in, so my rage led me to political activism. Social justice became my new metal. Those two are easy lifetime partners.  In Chicano Batman, love is our biggest political ally. Love is my new metal. Thats how I stay authentic. 

You guys are about to embark on a tour spanning over 40 shows, including stops in the US, Mexico, and the Netherlands. What preparations have been underway for this extensive tour?

 Eduardo: You know, we still haven’t crafted a setlist for our upcoming tour.  We love all the new songs on the album that we want to play them all. But then you run that memory back of time you saw your favorite band on a new album tour and its sucked cause they played all new joints that you didn’t know yet and played less of the classics. We'll find the balance but.. fans better memorize that new record!

Being proficient in bass, guitar, and vocals, how do you juggle these different roles within the band, both in the studio and on stage?

 Eduardo: Nowadays I just try to stay out of the guitar world, “too many cooks in the kitchen” as Carlos says.  Him and Bardo write such amazing songs to where I don’t feel like I have to contribute an equal amount. However, in the studio they trust my intuition and feedback especially when I hear something compelling might have been unintentional.  On stage it’s a completely different story. I’m focused on the rhythm of the people and how we sway each other. It’s an intimate thing: I make the booty shake.

 Can you share any specific challenges or breakthroughs you encountered while recording "Notebook Fantasy"?

 Eduardo: One thing I learned was that rough demos go further in the studio than polished and arranged ones. Rough demos leave so much space for imagination.  Polished demos make you feel like you have to re-record it the same way. There is nothing more compelling than a voice memo with a loose skat of a chorus with a lot of heart.

How do you see Chicano Batman's music evolving in the future, and what role do you envision playing in that evolution?
 Eduardo: Our music is not just a collection of songs but rather an evolutionary identity. I’m a gifted and talented brown-skin man, just like my other bandmates. Notebook Fantasy is a statement about offense, not defense. We are not asking for permission to be accepted. We are the status quo. Brown is beautiful. 

Recently, I've been listening to all your albums. What strikes me is how each album stands on its own. You never replicate the same sound twice. It's refreshing. How do you maintain such creative diversity with each project you all release?

 Eduardo: We create diversity by aiming in different directions. This album is our Steely Dan, Fleetwood Mac record. Our most sonically transparent and sincerest lyrical journey. Invisible People was more synth heavy and had a post-apocalyptic beauty. Freedom is Free was a national anthem. The collection of songs we record in a given era really talk to each other and tell a different story of where we are in our lives.

As the guitarist and keyboardist, how do you contribute to shaping the band's sound and experimenting with different musical styles?

Carlos: When I bring music or the beginnings of songs to the band I try my best to offer sounds, color, or arrangements that are different than what we’ve recorded in the past. This keeps things fresh and exciting for me. I’m confident in our group’s individual musical talent so I want to see what they develop when presented with a set of new and different ideas. I’m very aware of what we’ve done before and those songs will live on those past albums forever so why not take a chance at trying something else? In regards to the songs Bardo and Eduardo respectively contribute I’m there to serve their songs and play parts that support their vision and direction. Sometimes that means less is more or more is more!

Are there any particular guitar or keyboard techniques you explored on "Notebook Fantasy" that you're excited for fans to hear?

Carlos: I’m very proud of the guitar parts I recorded for the songs ‘Parallels’ and ‘Hojas Secas.’ I played parts and made sounds I didn’t know I had in me until our producer John Congleton and Eduardo our bassist encouraged me to dig deep within and reach for new tones and employ techniques that I hadn’t used before on our other albums. 

How do you maintain a balance between individual creativity and collective cohesion within the band's collaborative songwriting process?

Carlos: Communication and good listening are key to finding that balance. Once it’s clear what the intention of the songwriter is for a piece of music that is brought in from either Bardo, Eduardo or I, then we are able to go off and shine individually within the song structure and its aesthetic. This combo is what makes our songs unique. 

As the vocalist and lyricist, how do you approach crafting lyrics that reflect the band's vision while also resonating with your audience?

Bardo: For me it’s about creating art, music, lyrics, vibes, energy that is resonating with me at the moment that I’m making it. I’m in a process, a timeline and in a place in time in my career etc... but all that is secondary to me. I’ve said before that writing...poetry and making songs is therapeutic for me. It’s still true. I pick up the acoustic guitar and it calms me down. I shred on the electric and chills me out. I bust out a song in a morning about what I dream about, or about some angst I’m feeling, and after a few hours a completed song appears, it makes me feel complete and accomplished, just right there in those initial moments of recording that 3 minute song on my notes I’ve put down a complete aesthetic and my mind runs wild and I can feel the energy in it and I know that it’s a Lennon-esque thing or a post punk thing or neo soul thing and I know the instruments got to be played a certain way and sound this way or that way.

In Chicano Batman, I’ve always pushed for what I’ve envisioned. And my bandmates have pushed back because they got tons of talent and their own vision - that’s what you're hearing on a bunch of albums. It happened on this new one too, but it was way more peaceful process for many different reasons: we’re more mature, we got families, and well there’s room for everyone to express themselves. We also agreed that whoever brought a track, a song, an idea, to the table; we’d take turns taking the lead.

“Notebook Fantasy” and “Live Today” was set up by Carlos, “Hojas Secas” and “The Way You Say It” were Eduardo’s inspiration, “Tears Away”, “Losing My Mind”, “Fairy Tale Love”, “Era Primavera” were songs that I wrote. Eduardo and I wrote “Parallels” together, a duet. We’ve come to the point with each of our unique skillsets that we can do delve into any aesthetic any musical rabbit hole and we can actually make it sound that way, and at the same time maintain our individuality and create something new. The vibe in the studio was awesome too though, everyone was much more open to any of us steering certain songs in a certain way if it called for it. 

Audience...well, I led with whatever I felt was the catchiest from 30 or so songs that I wrote during the time we made the album. I make music for me like I said earlier. But yes, I thought about the audience and well a lot of songs are generally very simple in their poetic structure and intent. You know, I look at my notebooks and hear songs from years ago and I love how left of center my lyricism is. With this record I tried to be more straightforward with it: “I want you to kiss me like they do in the movies, squeeze me tightly like you really love me”.  Like Eduardo says, we busted out the big crayons for this record. It’s about making big songs. I read somewhere that Paul and John would say, “Let's buy a swimming pool with this one”.  It’s kind of a tongue in cheek thing, YO: that song is MONEY, that guitar lick is MONEY, so on and so forth. Eduardo threw a 5-dollar bill at me after I showed him a version of Losing My Mind. It's real, its fun motivation, after all we are doing this for a living. 

Can you share any specific anecdotes or experiences that inspired the lyrical content on "Notebook Fantasy”?

Bardo: I wasn’t popular in high school. didn’t have a girlfriend till college. was picked on when I was in elementary school. I was made fun of so bad in 4th grade that I didn’t leave my house that summer. I’m glad I didnt though. I listened to every one of my dad’s CDs (in the thousands) listened to the greatest hits of the 50s, 60s, 70s, 80s etc....read comics and drew and drew and drew. High school was a huge shock for me, I would walk through campus and would be so anxiety ridden that I couldn’t open my eyes, it was all too much. It’s like I could feel the politics, the clicks, the hierarchy, the judgement from every “island” on La Mirada high’s courtyard. In class, I would doodle incessantly in my notebook, and I remember the night I wrote through 5 pages. a free write, I let it all out. language arts and social studies was my strength, and the summer of 11th grade I was awoken by Howard Zinn, Noam Chomsky, 90.7 KPFK, Anarchist zines, Alejandro Jodorowsky, big shout out to my atheist dad Conrad, Mr. Johnny, and Justin Shade, so I spilled my guts out onto those pages, it was gruesome and intense and deep and self-reflective.

The notebook was the place where I created my own world. I was basically the typical outcast you find in a teeny bopper teenage drama. That summer I came alive. My hair was super long, I took a weightlifting class, I proudly wore my self-painted Che Guevara, and EZLN T shirts, I was a staunch anti American rocking the upside American flag on my backpack pissed at the injustices of American imperialism and society. I even got the nod from some of the snooty seniors with the doc martens and the thick rimmed glasses. I made art all day had 2 periods of art and a ceramics class. At 17 I could see through all the bullshit and the jingoism of a typical American suburb in my All American city. I was never accepted and I knew why. I would bike around the town, climb trees in the park, and stare at the moon, and then I picked up a guitar... “Notebook Fantasy” is an ode to that experience, in many ways I’m still that alienated kid with a bit more confidence now after some 23 years. In that song I created another persona, a female teen akin to the rebellious young women you see in those teenage Netflix movies. I imagined her tearing up the jeans, throwing on the patches, lacing up the boots, dashing style, rebellious to the core, just shredding the campus as she walks, changing the scene disturbing the peace. Notebook Fantasy has some of my favorite lyrics of the album, “dyed your hair so many colors it’s unrecognizable, you’re taking chances instead.”  many roots of Chicano batman at its ethos. It’s about embracing your differences and being unapologetic about your own individuality and expression. I also want it to be anthem for anyone who has had a similar experience as I have had...weirdos of the world unite!

Can you tell us more about the inspiration behind the title "Notebook Fantasy" and how it reflects the themes explored in the album?

Bardo: “Notebook Fantasy” is one of the more motivational songs on the record for me. It’s a Horatio Alger rags to riches, a song about self-affirmation, self-building. A reflection of my own journey. The Notebook is a symbol of personal reflection, i.e. the diary, and therefore all the songs can be seen as pages of this metaphorical but also actual Notebook. I’m just exploring my feelings on a lot of songs. “Tears Away” and “Fairy Tale Love” were simply expressions of my present state. For Tears Away I was reflecting on a lot of painful emotions, relationships...my aunt passed away in early 2021 which was a really difficult and hard blow for me. Life is rough. Tears Away is about navigating through that pain and seeing the light at the end of the tunnel. Through songs like “Losing my Mind” and “Fairy Tale Love” I express difficult feelings related to my relationship with my wife, but also feelings I’ve felt all my life. Tough stuff. Just shit I was going through. Making this record also felt like an uphill battle, hey you -make the greatest album of your life, go on. Self-imposed- maybe, sure, always. Kind of where I was at then. In “Parallels”, Eduardo and I reflect on our relationship as bandmates for over 15 years...I say shit like “So much time on this road, who you think paved it? Not feelin’ the love.” There are all kinds of deep shit in that song. In many of our long-winded conversations, in the Parallels sessions, we were both adamant about how real the lyrics needed to be. The more real, the more heart felt, the more direct, the more impactful the music. 

How has your role evolved within the band over the years, both creatively and personally?

Bardo: I’ve definitely always been a visionary, but not always so good at describing what that vision is though. I guess I’ve been developing the skillset to carry out whatever musical idea it is I want to manifest throughout the years. And that vision continuously shifts, I went from multi-instrumemtalist/singer-songwriter for a decade, to lead singer/songwriter in the last 4 years. I realized that is much more effective and visceral to pace around the stage singing with a mic then it is behind a keyboard and a guitar. I occasionally rip a guitar solo, or a synth lead, but shaking up crowds is what I do best, and the feeling of synchronizing the vibration in a room to rhythms and melodies is insanely satisfying and life affirming, its quantum physics in action, a “show” for me is much more than just a show it's a ceremony. The stage is the biggest teacher, you learn what moves people, and what doesn’t, and it has everything to do with conviction and self-confidence. 

You naturally apply what you soak in live to the music you make. Ok, well..,ahhh this chorus is gonna make them sing…ok this is gonna be that mosh pit moment…every song is opportunity to craft huge vibes for the live show…I think it’s about imagining how people are going to move and feel at a show, as opposed to being too concern what people are going to think of your music, who cares about that. You got to believe in what you do 100 first. You grow with time, with every song, every project.

The guys welcome the songs I bring, and I welcome the compositions and songs they bring because they’re great. For this new record, instead of being defensive we were more willing to make each other's vision come alive. Eduardo even wrote a song and had me sing it, “The Way You Say It”...he was also open with my input regarding the vibe for his bass playing. We were all in the same room just cooking it, it was awesome. I’m definitely the most stubborn about songs that I write and compose, I don’t give in even if the guys don’t see it. Like I said earlier I’m here to fulfill what inspires me. But I was also proven wrong on many occasions as well, humbled by the playback, and it was totally a learning experience, and I loved what was playing back so I instantly converted. For “Fairy Tale Love”, I wanted it to feel like the Byrds, jangling 12 string electrics.... but Congleton wasn't feeling it. We took a break, Eduardo and Tamir Barzilay (drums) just started playing a slow syncopated beat after everyone agreed that the song should be open and languid for the vocals to breathe. I didn’t see it at the moment, but I gave it a chance (something new for me). An hour later the track was done, and it was amazing!

Once all the tracks were recorded, the next task was to record vocals. I wasn’t comfortable working with an engineer mainly because I didn't want to feel any pressure from anyone. I needed time to digest the material, and I needed to record vocals that complimented these amazing tracks. All the songs were so different, each song needed a different vibe. My vocal carries “Fairy Tale love”, it freaks “Fly” and “Notebook Fantasy”, Eduardo and I had to duel it out on our duet. For “Fly” I was so stuck on it, I had to get sexy with it at a time when i really didn’t feel sexy. That was the intention, but I wasn’t feeling it. I called an amazing songwriter Dennis “Love” Padula who is a tremendous singer who did a lot of co-writing with our friends Say She She. He literally sang out the melody to the two verses. We took a walk around the block before we listened to the song. We talked about life, and I told him about the track and how I was feeling about it. I showed him the track, and he just ripped it and dropped some amazing lyrics that were keepers “riding high within your hair I’m going to get it everywhere, die a little bit in my arms don’t care what the limits are”.  It was one of the last songs, kinda crazy that it became the lead single.  Lei La, a track brought in by Eduardo, became my favorite song because it brought out a big part of who I am. I repped my caribbean roots pushing big vibes and my day ones, my mom, my sister, and my family in Colombia...inspired by reggeaton and dembo...and it moved everyone that heard it, they felt it. This record encompassed tons of growth for us as a band, and for me personally; I grew exponentially as an artist because I worked ceaselessly on music nearly every day for about 6 months in 2023.