Aug 1, 2026 · 35 min · 11 segments
Erick Frost is back! And Alicia St. Gelais joins the show for the first time. Erick and Alicia talk about the creative visual process for Switchfoot's latest album. Props, videos, van rentals…
Eric FrostGuest
Alicia St. GelaisGuest
Tyler D. SmithHost
Well, so we've actually, Alicia and I were talking about this a couple of days ago.
I think we started talking about visual stuff for this, maybe like in April of last year, which is wild.
It's been a really like long, long project and, Um, but just like the most fun it's been just like, so such a, like, it's been a dance just kind of like one thing has led to another has led to another.
And when we first, when I first started talking with the Switchfoot guys about this record, um, it was, uh, we had kind of been going down a different visual path that was kind of a little bit more like had, um, it would have been fun to try to pull it off technically.
Like I was really into these, I'm blanking on the artist's name right now, but I was really into these like illusion images where, you know, like there's the images of like the, there's like the old man and the old woman and they're like embracing or they're kissing or something.
And it's like, you see that, but then if you look at it from far away, it's like a skeleton kind of thing.
But, yeah, so Octavio Acampo really, really was, like, gravitating towards those, like, double images.
But as the record, like, was being recorded and, like, I visited the guys at – when they came out to Nashville to work with Mike Elizondo, I saw him – I visited them once while they were making the record and – kind of started to think about latching onto this, these lyrics specifically in butterfly effect where John kind of has this, like they have this reveal where, you know, John says like, I, I read when I was a kid that, you know, after your heartbeat stops, there's, you still got seven minutes of brain activity before the lights shut off.
And that kind of was like a bit of a, lightning bolt in my head of of like whoa what if what if in my head how i approach anything any idea i have here it's it's uh through the lens of this you know of mr crow um in his last seven minutes, perhaps we all experience this great revelation that everything we've encountered in life has been trying to say the same thing.
Every beautiful moment where your mom's tucking you into bed as a kid and she whispers, I love you, she's saying forever now.
Or like you see, you know, protesters and they're standing for something they care about.
So I kind of started talking with John and Tim and the rest of the Switcher Boys about like, what if we just created all this stuff that was kind of... seen through the lens of that last seven minutes, this moment of clarity before stepping on to the next life.
Well, so we've actually, Alicia and I were talking about this a couple of days ago.
I think we started talking about visual stuff for this, maybe like in April of last year, which is wild.
It's been a really like long, long project and, Um, but just like the most fun it's been just like, so such a, like, it's been a dance just kind of like one thing has led to another has led to another.
And when we first, when I first started talking with the Switchfoot guys about this record, um, it was, uh, we had kind of been going down a different visual path that was kind of a little bit more like had, um, it would have been fun to try to pull it off technically.
Like I was really into these, I'm blanking on the artist's name right now, but I was really into these like illusion images where, you know, like there's the images of like the, there's like the old man and the old woman and they're like embracing or they're kissing or something.
And it's like, you see that, but then if you look at it from far away, it's like a skeleton kind of thing.
But, yeah, so Octavio Acampo really, really was, like, gravitating towards those, like, double images.
But as the record, like, was being recorded and, like, I visited the guys at – when they came out to Nashville to work with Mike Elizondo, I saw him – I visited them once while they were making the record and – kind of started to think about latching onto this, these lyrics specifically in butterfly effect where John kind of has this, like they have this reveal where, you know, John says like, I, I read when I was a kid that, you know, after your heartbeat stops, there's, you still got seven minutes of brain activity before the lights shut off.
And that kind of was like a bit of a, lightning bolt in my head of of like whoa what if what if in my head how i approach anything any idea i have here it's it's uh through the lens of this you know of mr crow um in his last seven minutes, perhaps we all experience this great revelation that everything we've encountered in life has been trying to say the same thing.
Every beautiful moment where your mom's tucking you into bed as a kid and she whispers, I love you, she's saying forever now.
Or like you see, you know, protesters and they're standing for something they care about.
So I kind of started talking with John and Tim and the rest of the Switcher Boys about like, what if we just created all this stuff that was kind of... seen through the lens of that last seven minutes, this moment of clarity before stepping on to the next life.
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