(This is a revised version of an essay I first published on this site in 2016. This version was reworked for publication in Passion of the Weiss. Thanks to Jeff Weiss for his guidance on this edit and the others before and since).
In 1933, Junichiro Tanizaki published "In Praise of Shadows," an essay that recognized “beauty (lay) not in the thing itself, but in the patterns of the shadows, the light and the darkness that one thing against another creates.” The Japanese novelist celebrated what he called an “Oriental” (see Japanese) love for art, architecture that bore the “marks of grime, soot and weather … that call to mind the past that made them.”
Central to Tanizaki’s argument was that Westerners through their art and approach to life sought to “expose every bit of grime an eradicate it,” while Japanese people believed that beauty in art came from its “relation to life,” while embodying the fact that “our ancestors forced to live in dark rooms” discovered that beauty came from the “glow of the grime.”
Darkness as a word and concept is often associated with hip-hop, usually in terms of the musical genre’s lyrical content. My interest here is to develop the idea of darkness, or shadows in the Tanizaki sense, in terms of music, using three instrumentals from the 90s by Onyx, Miilkbone and The Speedknots as examples of an aesthetic that I’ll call hip-hop quiet.