Environmental journalist Elizabeth Kolbert has often reflected on how the Earth’s shifting continents have shaped life, climate, and ultimately, human societies. The slow, inexorable drift of landmasses over eons set the stage for our entire history. It’s a concept so vast it’s difficult to grasp, yet multi-instrumentalist Harrison Gesser has managed to distill this big-picture thinking into his latest track, “Pangaea.” Released on August 21, the song taps into the science and history of our planet, not for a lecture, but to create a punchy, thought-provoking indie pop package. It’s a song masterfully designed to make you move—but also to make you think about the invisible lines and unifying connections that try to define us.
Right from the start, “Pangaea” pulls you into a sound that’s just full of life and intricate detail. The track’s heartbeat is a seriously tight rhythm, a perfect fusion of programmed beats and Gesser’s own dynamic drumming that makes it almost impossible to sit still. Shimmering synthesizers from Noah Hansfield create this rich, atmospheric mood. But it’s the powerful, melodic bassline from the legendary Jeff Pevar that really grabs you, giving the song its soulful core while his expressive guitar work weaves in and out, adding sparks of color. Thanks to the crisp production from Hansfield and engineer Ronnie Gesser, every instrument has room to breathe. It all comes together in a mix that feels both huge and deeply personal—a polished, timeless sound that never loses its human touch.
At the heart of the track is a clever and poignant allegory. Gesser personifies the ancient supercontinent as a woman waking from a troubled sleep, “scared of what is coming.” In his telling, the continental drift that gave us our modern world was a traumatic event, replacing a unified angel with “seven guys”—the continents, now divided by “religious eyes.” The chorus poses a series of deceptively simple questions: “would you need a passport to see pangaea’s islands / would you need a visa would there be any sirens.” It’s a brilliant lyrical device that uses a geological event to critique the very human constructs of borders, nationalism, and division. The message is potent but never preachy, wrapped in one of the year’s most infectious and deceptively simple hooks: a soaring, wordless “bye yayayaya” refrain that is pure melodic bliss.
For those unfamiliar with Harrison Gesser, this level of musical and thematic maturity might seem to come out of nowhere, but it’s been years in the making. He was a percussion prodigy, building his own drum kit from pots and pans at age five and later winning multiple awards in the prestigious Downbeat Magazine while playing in school jazz ensembles. After cutting his teeth in rock and metal bands, he co-founded the post-punk duo Emergency Staircase, where he first stepped into the role of frontman, writer, and arranger. Now a jazz student on a full scholarship at the esteemed University of Miami Frost School of Music, his musical palette has only expanded, setting the stage for his emergence as a solo artist.
This diverse journey is key to understanding his artistic ethos. Gesser is a musical omnivore, absorbing everything from album-oriented rock to the American Songbook and synth-pop. “I was confused about my musical direction because I liked so many different styles of music,” he admits. “As time moved on, I took all the music I loved and started writing and creating what I wanted to hear.”
“Pangaea” is a finely-tuned song with an earworm melody that will lodge itself in your brain for days. It’s a sonic treat, showcasing pristine production. And it’s a piece of lyrical art that invites listeners to find their own meaning, to contemplate deep ideas while tapping their feet. It’s a powerful follow-up to the four eclectic singles he released in 2024.
“Pangaea” serves as the lead single for Harrison Gesser’s forthcoming, yet-untitled debut album, slated for release in late October or early November. With subsequent singles “The Lord And I Are Leaving Town” and “Let Em Go” scheduled for September and October, respectively, he is building an undeniable momentum. He isn’t just writing songs – he’s crafting a world, reassembling the scattered pieces of modern music into something unified and whole. He invites you in not with explanations, but with an irresistible sound. The only question that remains is not what it all means, but where he will take us next.
