Enough of the ‘ahead of its time’ crap. That’s impossible. Music, art and literature are created as a result of current societal, social and whatever other pressures are floating around. There’s no such thing as a time machine, so artists capped with the ‘ahead of its time’ thing is all hyperbole without a way to substantiate any of the claims.

Camu Tao, a Columbus native and true rap talent, arrived on the national stage, albeit the underground one, through work with highly visible stalwarts of the movement. An early career collaboration with RJD2, as a part of MHz, didn’t hurt. And subsequent connections with El-P, the Weathermen and Def Jux in a general sense sat Camu Tao on the precipice of something that not too many can claim: the ability to subsist off of his own creative endeavors.

Unfortunately, cancer ended Camu Tao’s life prior to the completion of a proper full length during his life time. Obviously, that’s the least of human concerns in a situation like this. But he was an artist of sorts. And for artists, that’s a tremendous bummer.

Literally, years in the making, King of Hearts was recently issued after being culled from scraps, half thoughts and woulda-been hits. Helmed by El-P, a man whose repeatedly heaped heartfelt praise upon Camu Tao, the album might be a bit of a surprise to Def Jux devotees.

Most associated with the grimiest of underground rap styles, Def Jux, basically operating in memoriam at this point, turned to Fat Possum in order to issue King of Hearts. And with something of a reputable rock cache behind the imprint, it makes sense. Camu Tao doesn’t do too much in the way of proper rapping here. Certainly, there’re quickly spun lyrics here and there, but for the most part, this is what Kid Cudi has been trying to work out over his few years of blog stardom. So, does the fact that King of the Hearts sounds like this and was recorded so long ago make it ahead of its time?

No. It just means Camu Tao is a bit smarter and more deft at combining rap production, club aesthetics and pop music than the aforementioned Cleveland native. Again, King Hearts isn’t going to hit home for all Def Jux fans. But more importantly, does this disc and Cudi’s success mean that Ohio is at the heart of rap’s further shift towards pop? I dunno, but I probably won’t be listening to this disc – or anything from Cudi apart from “Cleveland is the Reason” – any time soon.

PS. - "Ind Of The Worl" rules.