If Rodeo isn’t quite focused enough for its blurry vision to come through, too upbeat for the trip to kick in, the terrific single and radio behemoth “Antidote” sums up Scott’s ethos: no hook, really, not even a looped beat, just squishy synth atmosphere and low bass jitter floating about as Scott murmurs childishly pretty boasts about “the night show.” It was weird hearing a song this antisocial, this straight-up avant-garde, on the radio, but pretty soon his anonymous vocal garble begins to stick in the mind’s ear, and his new Birds in the Trap Sing McKnight (what a title!), out since September, plays like “Antidote” stretched to nearly an hour. Scott’s been a Houston trap-rap fixture for years, but his breakthrough came last year with his major label debut, Rodeo, and his infamous Rodeo Tour, which earned him a reputation for energetic cathartic fierceness that hardly applies to his recorded music. It’s addictive, too good luck turning off this music when the cherry/mint/codeine buzz starts tasting unhealthy, which is the whole attraction. Play it on the dancefloor and people will slow to a crawl, frozen in place by the surge of dopamine suddenly oozing into the bloodstream. Any name rapper can hire a cadre of otiose guest producers and/or vocalists to weigh down their project few can sound this weighed down, stunned, out of it, in the grain of the voice as well as the beats, what with all the hypnotic synth trickle and insinuatingly eerie keyboards and drippy, druggy hazy daze. Those searching for the true sound of unadulterated decadence should check out the new Travis Scott album.