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"Inertia Creeps"
Single by Massive Attack
from the album Mezzanine
B-side"Reflection"
Released19 October 1998 (1998-10-19)[1]
Recorded1997–1998
StudioMassive Attack, Christchurch (Bristol, England)
GenreElectronica[2]
Length5:56
LabelVirgin
Songwriters
ProducerNeil Davidge
Massive Attack singles chronology
"Angel"
(1998) 		"Inertia Creeps"
(1998) 		"Special Cases"
(2003)
Music video
"Inertia Creeps" on YouTube

"Inertia Creeps" is a song by English electronic music band Massive Attack, released on 19 October 1998. It was the fourth and final single released off their third album, Mezzanine (1998). It is the least commercially successful of the four singles released from Mezzanine, charting only on the New Zealand Singles Chart at No. 16, but it has been noted as one of the best singles from the album.

Background and composition

[edit]

The song describes a relationship that Robert del Naja had, which at the time had just ended:

I already had a lot of the lyrics written before. It was just about a relationship I had been going through. It's about being in a situation but knowing you should be out of it but you're too fucking lazy or weak to leave. And you're dishonest to yourself and dishonest to the other person. You're betraying them everyday [sic] and the whole scene feels like it's closing in on you, d'ya-know-what-I-mean? The idea is a combination of movements propelling yourself forward and pulling yourself back at the same time. That's what the track's about—a fucked up relationship basically and there it is.[3]

The rhythm of "Inertia Creeps" has a strong çiftetelli influence, inspired by nights out in Istanbul. Robert del Naja acquired some tapes of such music, which were used as a basis for the song.[3] The song is composed in the key of D-sharp minor[2] and it runs at a tempo of 84 beats per minute.[4] It samples the song "ROckWrok" by new wave band Ultravox.[5]

[edit]

The single contains four remixes of the original song, the first from Welsh rock band Manic Street Preachers, the second from British DJ State of Bengal, the third from fellow Bristol trip hop group Alpha, and the fourth titled "Back She Comes" from dub producer Mad Professor, along with another track called "Reflection".[6]

Music video

[edit]

The music video for "Inertia Creeps" features Robert del Naja sitting on a sofa. He is watching an explicit clip of his partner having sex with who appears to be Mushroom. The clip is directed and recorded by Daddy G, who is in the same room as the extramarital couple. Del Naja is shown to be frequently shocked by the clip (especially a scene where she performs fellatio on Mushroom whilst sitting in a lounge chair); he breathes heavily while watching it, turns away a lot from the camcorder, fast-forwards a lot of the video, and at one point he ends up hiding behind a blanket. The video has received over 10 million views on YouTube.[7]

The lounge chair featured in the videoclip is a knock off of the iconic 1956 Charles and Ray Eames lounge chair as authorised copies of the chair do not feature any kind of lever or wheels.[8][9] [10]

Reception

[edit]

In the album review of Mezzanine, John Bush of AllMusic gave "Inertia Creeps" critical acclaim, describing the song as the highlight of the album: "Inertia Creeps" could well be the highlight, another feature for just the core threesome. With eerie atmospherics, fuzz-tone guitars, and a wealth of effects, the song could well be the best production from the best team of producers the electronic world had ever seen."[11]

A separate review for the single, also carried out on AllMusic but by Matt Whalley, gave the single 4 stars out of 5,[12] praising the song itself, saying "Between 1990-1998, Massive Attack has never made a single that was more interesting and unmatched in style."[12] The three remixes also received positive attention, with Whalley stating that they took the track into "two unique directions which ensure replay value."[12]

Track listing

[edit]
No.TitleLength
1."Inertia Creeps"5:56
2."Inertia Creeps" (Radio edit)4:09
3."Inertia Creeps" (Manic Street Preachers version)5:02
4."Inertia Creeps" (State of Bengal remix)6:23
5."Inertia Creeps" (Alpha mix)5:54
6."Back She Comes"6:07
7."Reflection" (Written by Robert del Naja and Neil Davidge only)4:52
Total length:37:59[13]

Personnel

[edit]

Massive Attack

  • Robert Del Naja – vocals, producer, arrangements, programming, keyboards, samples, art direction, design
  • Grantley Marshall – producer, arrangements, programming, keyboards, samples
  • Andrew Vowles – producer, arrangements, programming, keyboards, samples, drums

Additional personnel

  • Neil Davidge – producer, arrangements, programming, keyboards, samples
  • Angelo Bruschini – guitars
  • Jon Harris, Bob Locke, Winston Blisset – bass guitars
  • Andy Gangadeen – additional drums, percussion
  • Dave Jenkins, Michael Timothy – additional keyboards

Recording personnel

  • Jan Kybert – Pro Tools
  • Lee Shepherd – engineer (Massive Attack and Christchurch Studios)
  • Mark "Spike" Stent – mixing (Olympic Studios)
  • Jan Kybert, Paul "P-Dub" Walton – assistant mixing
  • Tim Young – editing, engineer (Metropolis Studios)

Charts

[edit]
Chart (1998) Peak
position
New Zealand (Recorded Music NZ)[14] 16

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Inertia Creeps

View on Grokipedia
from Grokipedia
"Inertia Creeps" is a song by the English electronic music band , released as the fourth and final single from their third studio album, , on September 21, 1998. The track exemplifies the band's signature style, blending beats, heavy basslines, and atmospheric samples to create a hypnotic, brooding soundscape. The vocals on "Inertia Creeps" are performed by members Robert "3D" Del Naja and Grant "" Marshall, with Del Naja penning the lyrics about the inertia of a toxic relationship he experienced. Originally conceived as a demo for the , the song was reworked for , incorporating influences like a sample from Ultravox's "Rockwrok". The single's release included various remixes, such as the Alpha Mix and State of Bengal Mix, expanding its appeal in electronic and club scenes. Accompanied by a directed by W.I.Z., "Inertia Creeps" has been praised for its innovative production and emotional depth, solidifying its place as a standout track from Mezzanine, an album widely acclaimed as a cornerstone of electronic music.

Background

Writing and inspiration

"Inertia Creeps" was primarily written by , known as 3D, who drew inspiration from a toxic personal relationship that had recently ended. The song explores themes of , dishonesty, and emotional stagnation, capturing the sense of being trapped in a deteriorating dynamic without a clear path out. Del Naja explained, "It’s about a fucked up relationship I had been going through. It's about being in a situation but knowing you should be out of it, but you're too fucking lazy or weak to leave. And you're dishonest to yourself and dishonest to the other person. You're betraying them everyday and the whole scene feels like it's closing in on you. The idea is a combination of movements propelling yourself forward and pulling yourself back at the same time." These elements underscore the song's portrayal of dishonesty and stagnation, aligning with del Naja's experiences of emotional . The contribute to the broader narrative of dysfunction prevalent in Massive Attack's work during this era. The track connects to the dark, introspective tone of album, developed amid intense creative tensions and personal struggles from 1997 to 1998. This period saw grappling with internal conflicts, including use and relational breakdowns, which infused the album with a brooding atmosphere of isolation and unease. "Inertia Creeps" embodies this mood through its themes of entrapment, mirroring the album's overall shift toward heavier, more claustrophobic soundscapes. Del Naja's inspiration for the rhythm stemmed from nights out in Istanbul's nightlife in July 1997, where he acquired tapes of Turkish çiftetelli music that influenced the song's percussive drive. This incorporation added an exotic, pulsating undercurrent to the track's exploration of emotional . The writing process unfolded at Massive Attack's Christchurch Studios in , where initial ideas were shaped into the final form.

Recording

The recording of "Inertia Creeps" took place between 1997 and 1998 at Massive Attack's Christchurch Studios in , , as part of the broader production sessions for the band's third studio album, . Core members , Grantley Marshall (), and Andrew Vowles () managed the vocals, production, and programming for the track, drawing on their established collaborative approach to electronic music creation. Engineering duties included editing by Jan Kybert, recording by Lee Shepherd at the studios, and final mixing by Mark "Spike" Stent at Olympic Studios in . "Inertia Creeps" emerged as one of the last tracks finalized during these sessions, contributing to the album's cohesive dark, atmospheric sound ahead of its April 1998 release.

Composition

Musical structure

"Inertia Creeps" blends trip-hop with , incorporating dub and elements through its layered production and instrumentation. The track is composed in at a of 167 beats per minute (with a half-time feel of 84 beats per minute) in 4/4 time, creating a deliberate, mid-tempo pace that underscores its creeping momentum. Its arrangement centers on dual male vocals from and Grant Marshall, delivered in a hushed call-and-response style that evokes tension and intimacy. A prominent, looping by Jon Harris provides the rhythmic anchor, complemented by angular guitar riffs from and atmospheric keyboards from , Robert del Naja, and Grant Marshall, which add depth and a sense of unease. The rhythm foundation draws from the çiftetelli, a traditional Balkan and Turkish 9/8 pattern encountered during the band's travels in , adapted here into a 4/4 framework to produce an inertial, propulsive groove that mimics slow, inexorable movement. The album version runs for 5:56, allowing the elements to build gradually over its duration.

Samples and influences

"Inertia Creeps" incorporates two primary audio samples that shape its rhythmic foundation and textural depth. The track draws from "Rockwrok" by (1977), utilizing its nervy synth lines and percussive elements to infuse a of urgency and electronic pulse into the song's groove. Similarly, it samples "İstanbul" from Balık Ayhan's 1995 album Yaşayan Ruhlar, incorporating fragments of ethnic percussion that evoke a half-speed, hypnotic sway, adding an exotic layer to the beat. These samples reflect broader influences rooted in Massive Attack's evolution within the Bristol trip-hop scene, which blended dub reggae's echoing delays and hip-hop's looped breaks with global sounds. The incorporation of Turkish rhythms, inspired by Robert del Naja's experiences in Istanbul nightclubs where he recorded local music, introduces elements that expand the track's atmospheric scope. This rhythmic influence includes a subtle nod to the çiftetelli pattern, a traditional Turkish dance rhythm that underscores the song's propulsive yet restrained motion. By layering these sourced elements—Ultravox's synthetic tension over Ayhan's percussive exoticism—the samples create the track's signature "creeping" inertia, building a dense, unresolved sonic tension that mirrors themes of relational stagnation without providing easy release.

Release

Commercial release

"Inertia Creeps" was released on 21 September 1998 as the fourth and final single from Massive Attack's third studio album, , through Circa and Virgin Records. The single was issued in multiple formats, including CD single, 12-inch vinyl, and later digital downloads, with a radio edit version running 4:09. Accompanying B-sides included "Reflection", an instrumental track written and produced by Robert "3D" del Naja and Neil Davidge (4:52), and "Back She Comes", a remix by Mad Professor (6:07). Notable remixes featured on the single were the Manic Street Preachers version (5:02), the State of Bengal remix (6:23), and the Alpha mix (5:54). A remastered version of the full album track (5:56) was included in the 2019 deluxe reissue of Mezzanine, distinct from the edited single version (5:31).

Track listing

The "Inertia Creeps" single was released in multiple formats, with the UK CD editions featuring distinct track listings that combined the album version with exclusive B-sides and remixes.

UK CD1 (Circa WBRDF 11, 1998)

  1. "Inertia Creeps" (album version) – 5:31
  2. "Reflection" – 4:52
  3. "Inertia Creeps" (Manic Street Preachers version) – 5:01
  4. "Inertia Creeps" (Alpha mix) – 5:56

UK CD2 (Circa WBRDDX11, 1998)

  1. "Inertia Creeps" (album version) – 5:31
  2. "Back She Comes" – 6:08
  3. "Inertia Creeps" (State of Bengal mix) – 6:23
The 1998 compilation Singles 90/98 included a comprehensive CD edition (Disc 11) that incorporated tracks from both UK CD formats, plus a radio edit, for a total runtime of 37:59.
  1. "Inertia Creeps" (album version) – 5:32
  2. "Inertia Creeps" (radio edit) – 4:09
  3. "Inertia Creeps" (Manic Street Preachers version) – 5:02
  4. "Inertia Creeps" (State of Bengal mix) – 6:23
  5. "Inertia Creeps" (Alpha mix) – 5:54
  6. "Back She Comes" – 6:07
  7. "Reflection" – 4:52
The B-side "Back She Comes" is a remix by Mad Professor. "Reflection" was written and produced by Robert "3D" del Naja and Neil Davidge. In the 2019 remastered edition of Mezzanine, the core "Inertia Creeps" album version (5:56) was remastered, with no alterations to the single-specific listings beyond audio remastering.

Music video

Production

The music video for "Inertia Creeps" was directed by W.I.Z. (Andrew John Whiston), a frequent collaborator with Massive Attack, and released in 1998 to promote the single from the band's album Mezzanine.<grok:render type="render_inline_citation"> 0 </grok:render> It was shot during the promotional cycle for Mezzanine, following the album's release on April 20, 1998, and aligning with the single's September 21, 1998, launch. The production adopted a low-key, band-involved approach typical of Massive Attack's visuals at the time, though detailed budget information remains unavailable in public records. Filmed on 35mm, the video incorporates a mix of color and monochrome with a notable use of heat-sensitive thermal imaging technology to render scenes in grayscale—where hotter elements appear white and cooler ones black—emphasizing themes of tension and voyeurism through this innovative visual effect. Key collaborators included director W.I.Z., who handled the overall vision and execution. Band members Robert Del Naja (3D), Grant Marshall (Daddy G), and Andrew Vowles (Mushroom) featured prominently, with Marshall portraying a director filming an in-video explicit scene. Additional cast comprised Natasha Wightman as Del Naja's on-screen partner, alongside body doubles Tabitha Denholm, Louis Hyde, and Pierre Angelique for sensitive sequences. The official music video was uploaded to the band's YouTube channel on March 6, 2009, and has surpassed 11 million views as of November 2025.

Synopsis and themes

The music video for "Inertia Creeps" opens with Robert Del Naja seated on an Eames lounge chair in a sparse, dimly lit interior, viewing explicit footage of his partner engaging in sexual acts with bandmate Andrew Vowles (Mushroom). The narrative intercuts this voyeuristic scene with performance shots of the band, emphasizing Del Naja's disturbed reaction as he hides behind a blanket while watching the betrayal unfold. The footage within the video is presented as having been recorded by (Grant Marshall) in the same room. Thematically, the video delves into infidelity, jealousy, and emotional distress, portraying the inertia of a crumbling relationship through Del Naja's passive observation of the act. This voyeuristic framing underscores a sense of detachment and helplessness, aligning with the song's lyrics on stagnation and relational , where lines like "Recollect me, darling, raise me to your lips" evoke intimacy turned sour. The explicit content heightens the portrayal of betrayal, transforming personal turmoil into a stark visual metaphor for emotional entrapment. The minimalist setting, with its subdued lighting and simple props like the lounge chair, amplifies the video's intimate yet claustrophobic atmosphere, evoking the brooding tone of Massive Attack's album Mezzanine. By focusing on raw interpersonal conflict without broader narrative resolution, the video reinforces themes of inertia as a creeping force that immobilizes those caught in cycles of deceit and desire.

Reception and legacy

Critical response

Upon its release as the fourth single from Massive Attack's third studio album Mezzanine, "Inertia Creeps" received widespread critical acclaim for its innovative fusion of trip-hop elements, marked by brooding rhythms and layered vocals that evoked emotional stagnation in relationships. In his review of Mezzanine, AllMusic critic John Bush described the track as a potential highlight of the album, praising its use of the core trio's male voices alongside eerie atmospherics, fuzz-tone guitars, and a claustrophobic intensity that amplified the record's overall tension. A dedicated review of the single by AllMusic's Matt Whalley awarded it stars, lauding the original track as one of Massive Attack's strongest compositions for its stylistic depth and vocal delivery, while highlighting the quality of accompanying remixes, particularly the album version and the Mad Professor dubwise mix. Contemporary coverage in The New York Times noted the song's live performance as building to a stomping crescendo, exemplifying the band's trip-hop prowess in blending reggae, rock, and dance influences with atmospheric spaces that hinted at underlying unease. In a 2017 reappraisal of Mezzanine for Pitchfork, the track was commended for encapsulating the album's themes of sexual friction and atmospheric dread, with lyrics reducing intimacy to mechanical motions amid relational decay. Overall, reviewers in 1998 hailed "Inertia Creeps" for masterfully channeling relational ennui through its hypnotic, inertia-bound soundscape, solidifying Massive Attack's evolution within trip-hop.

Commercial performance

"Inertia Creeps" experienced limited commercial success as a single. It peaked at number 16 on the New Zealand Singles Chart in November 1998, where it spent four weeks on the listing. The track did not enter the UK Singles Chart, rendering it the least successful release from the Mezzanine album in its home market. In comparison, preceding singles "Teardrop" reached number 10 on the UK Singles Chart, while "Angel" peaked at number 14. Physical sales for the single were modest, with promotion centered primarily on the parent album rather than standalone formats, and no certifications were awarded. By November 2025, however, digital streaming had bolstered its reach, accumulating over 35 million streams on Spotify. The song saw minor airplay on alternative radio stations across Europe and the United States, contributing to its niche but enduring presence in electronic music circles.

Cultural impact

"Inertia Creeps" stands as a cornerstone of the trip-hop genre, encapsulating the dark romanticism that Massive Attack brought to electronic music through their 1998 album Mezzanine. The track's brooding atmosphere and innovative sampling—drawing from Ultravox's "Rockwrok" and Turkish influences—helped define the subgenre's fusion of dub, hip-hop, and atmospheric elements, influencing subsequent artists in electronic and alternative scenes. The song has maintained a prominent place in Massive Attack's live repertoire, serving as a tension-building staple during tours. For instance, it featured in their 2019 Mezzanine anniversary performances at , where it contributed to the set's immersive energy alongside guest vocalists like and . In 2025, it continued to appear in setlists across European festivals, such as Sofia Live Fest, underscoring its enduring appeal in live contexts. Retrospectives marking the 25th anniversary of Mezzanine in 2023 highlighted "Inertia Creeps" for its timeless thematic depth, exploring inertia in relationships amid pulsating rhythms that evoke emotional stagnation. While no major mainstream covers exist, the track has been covered by artists such as Stoneburner on their 2020 EP and performed live by Jeff Martin. The 2019 remaster of Mezzanine revitalized its presence on streaming platforms, contributing to sustained popularity with over 35 million Spotify streams as of November 2025.

Personnel

Band members

"Inertia Creeps" was created by Massive Attack's core trio during the Mezzanine era, consisting of Robert del Naja (3D), Grant Marshall (Daddy G), and Andrew Vowles (Mushroom), marking their final collaboration as a unit before Vowles' departure from the group in 1999. Robert del Naja (3D) served as the lead vocalist, while also contributing to production, programming, and writing for the track. Grant Marshall (Daddy G) provided additional vocals, along with production, programming, and co-writing duties. Andrew Vowles (Mushroom) handled production, programming, and co-writing, and appeared in the music video alongside del Naja and Marshall.

Additional personnel

Neil Davidge provided additional production for the album version of "Inertia Creeps" as well as for B-sides on the single release, including "Reflection," where he co-arranged and produced the track alongside Robert Del Naja. Angelo Bruschini contributed guitar parts throughout the album Mezzanine, including on "Inertia Creeps," adding textured layers to the track's atmospheric sound. Additional instrumentation on Mezzanine featured Bob Locke and Winston Blissett on bass guitar, and Andy Gangadeen on drums, supporting the song's rhythmic foundation. Technical contributions included mixing by Mark "Spike" Stent for the album version and several remixes, Pro Tools operation by Jan Kybert, and engineering by Lee Shepherd, who recorded at Christchurch Studios and Massive Attack Studios in Bristol. The single featured remixes by several artists: Mad Professor on "Back/She Comes," Alpha on the "Alpha Mix," State of Bengal on their mix incorporating elements like flute by Uday Kumar Dey and vichitra veena by Dr. Gopal Shankar Misra, and Manic Street Preachers on their version, engineered by Dave Eringa with assistance from Paul Hicks.

References

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  54. https://www.discogs.com/release/6530-Massive-Attack-Mezzanine
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