
# Music Album Rating Prediction
Trained on a dataset of Pitchfork's album reviews. Taking review text as input to predict the rating (0-10). Insert your own text review or pick one of the examples from the dropdown.
{"inference": {"parameters": {"function_to_apply": "none"}}, "widget": [{"text": "When Thom Yorke introduced his new band at their first gig a year ago, he took a moment to explain their name. \u201cNot the Smile as in ha ha ha,\u201d he said, his faux laugh echoing eerily, \u201cmore the Smile of the guy who lies to you every day.\u201d Of course, no one figured that the most uncannily accurate doomsayer of the modern age was taking a sharp left to clown town with his latest project, but the Smile are not just aimed at shifty politicians, either. Their pearly grins are myriad, taking inspiration from smiles of love and deceit, bloody smiles and blissful ones, smiles that mend and smiles that destroy. At 53, Yorke has seen them all. And once again, he\u2019s battling the absurdity of existence the only way he knows how: by offering a salve for his anxieties without letting anyone off the hook for turning everything we hold dear into one big joke.\r\n\r\nThis bid for transcendence amid chaos isn\u2019t the only thing that\u2019s familiar about the Smile. The trio also includes Yorke\u2019s main songwriting partner in Radiohead, Jonny Greenwood, along with drummer Tom Skinner, whose eclectic resume includes work with jazz-funk explorers Sons of Kemet, electronic fusionist Floating Points, and UK rapper Kano. It\u2019s the first time Yorke and Greenwood have collaborated on a major project outside of their main gig, and, not coincidentally, A Light for Attracting Attention sounds more like a proper Radiohead album than any of the numerous side projects the band\u2019s members have done on their own.\r\n\r\nWe\u2019ve got Greenwood\u2019s lattice-like fingerpicking and saintly electric guitar tone. There\u2019s Yorke\u2019s voice, still in pristine form, wailing like an angel in limbo and gnashing like a punk who woke up on the wrong side of the gutter. There are synths and Greenwood\u2019s sidelong orchestral flourishes signaling end times. Longtime producer Nigel Godrich is in the control room, giving each sound an immense and terrifying and beautiful glow. How about some wonky rhythms that keep your mind from slipping into passive mode? Yep, lots of those too. All due respect to the guys from Radiohead who are not in the Smile, but if A Light for Attracting Attention were presented as the triumphant follow-up to the group\u2019s last album, 2016\u2019s A Moon Shaped Pool, I\u2019d bet that most people would have happily been fooled.", "example_title": "The Smile"}, {"text": "Greta Van Fleet sound like they did weed exactly once, called the cops, and tried to record a Led Zeppelin album before they arrested themselves. The poor kids from Frankenmuth, Michigan don\u2019t even realize they\u2019re more of an algorithmic fever dream than an actual rock band. While they\u2019re selling out shows all over the world, somewhere in a boardroom, a half-dozen people are figuring out just how, exactly, Jimmy Page and Robert Plant are supposed to fit into the SUV with the rest of the Greta Van Fleet boys on \u201cCarpool Karaoke.\u201d\r\n\r\nJust look at this photo: Brothers Jake and Sam Kiszka, on guitar and bass, are both wearing hippie costumes they 3D-printed off the internet. The singer, the wretched and caterwauling third brother, Josh, is in dangly feather earrings and vinyl pants, like he was dressed by a problematic Santa Fe palm-reader with a gift certificate to Chico\u2019s. It\u2019s a costume\u2014Greta Van Fleet is all costume. And if things that look like another thing is your thing, get ready to throw your lighters up for a band whose guiding principle seems to be reading the worst Grand Funk Railroad songs as if they were a religious text.\r\n\r\nThough their debut album, Anthem of the Peaceful Army, sounds like a bona fide classic rock record\u2014with its fuzzy bass, electric sitar solos, and lyrics featuring the kind of self-actualized transcendence brought on by a few too many multivitamins\u2014it is not actually classic rock. They are a new kind of vampiric band who\u2019s there to catch the runoff of original classic rock using streaming services\u2019 data-driven business model. Greta Van Fleet exist to be swallowed into the algorithm\u2019s churn and rack up plays, of which they already have hundreds of millions. They make music that sounds exactly like Led Zeppelin and demand very little other than forgetting how good Led Zeppelin often were.\r\n\r\nIt\u2019s possible to be an exceptional classic rock vampire act but it requires something more than the major label money and vaguely Native American accoutrements. It\u2019s why Greta Van Fleet can\u2019t compete with, say, the Darkness circa 2003\u2019s \u201cI Believe in a Thing Called Love.\u201d The Darkness\u2014who aped big rock warhorses like Queen and Aerosmith and Van Halen\u2014were so outrageous that they had to be credulous. They had a song that went, \u201cGet your hands off of my woman, mother fucker\u201d and did a power metal cover of Radiohead\u2019s \u201cStreet Spirit (Fade Out).\u201d Who would do such garish things? They dared you, tongue in cheek, to take this impossibly foolish thing very seriously.", "example_title": "Greta Van Fleet"}, {"text": "It happens to most of us at an early age: the realization that life will not follow a straight line on the path towards fulfillment. Instead, life spirals. The game is rigged, power corrupts, and society is, in a word, bullshit. Art can expose the lies. The early music of Fiona Apple was so much about grand betrayals by inadequate men and the patriarchal world. Did it teach you to hate yourself? Did it teach you to bury your pain, to let it calcify, to build a gate around your heart that quiets the reaches of your one and only voice? Fetch the bolt cutters.\r\n\r\nFiona Apple\u2019s fifth record is unbound. No music has ever sounded quite like it. Apple recorded Fetch the Bolt Cutters both in and with her Venice Beach home, banging on its walls, stomping on its ground. Self-reliance is its rule, curiosity is its key. Fetch the Bolt Cutters seems to almost completely turn the volume down on music history, while it cranks up raw, real life\u2014handclaps, chants, and other makeshift percussion, in harmony with space, echoes, whispers, screams, breathing, jokes, so-called mistakes, and dog barks. (At least five dogs are credited: Mercy, Maddie, Leo, Little, and Alfie.) All of this debris orbits around the core of Apple\u2019s music: her voice, her piano, and most of all her words, which have always been her primary instrument. It creates a wild symphony of the everyday.\r\n\r\nIn the past, Apple has said John Lennon was her god, and she wrote lyrics and melodies on par with the finest pop songs ever recorded. But Fetch the Bolt Cutters feels more conceptually akin to the revolutionary risk-taking of saint Yoko Ono\u2014a woman who once wrote, \u201cI like to fight the establishment by using methods that are so far removed from establishment-type thinking that the establishment doesn\u2019t know how to fight back.\u201d Fetch the Bolt Cutters does something similar. It contains practically no conventional pop forms. Taken together, the notes of its found percussion and rattling blues are liberationist.\r\n\r\nApple was moving towards all of this with 2012\u2019s The Idler Wheel. Even after the fury and eloquence of her initial three-album run\u2014manifestos from a voice of disenchantment who knew even as a teenager that she was \u201ctoo smart\u201d for the world\u2014Idler Wheel still felt like a breakthrough. It was the first Apple record to realize the breadth of her potential in the ecstatic reach of the music itself. On the corporeal \u201cDaredevil,\u201d she sang of \u201cgashes\u201d that gave her \u201clift.\u201d But on Fetch the Bolt Cutters she calls the gashes out by name: \u201cbullies,\u201d \u201cit girls,\u201d \u201cwannabes,\u201d and, above all, toxic masculinity.\r\n\r\nWATCH\r\n\r\n\r\nHow Apple Created Music\u2019s Best Device (And Then Ruined It)\r\n\r\nApple said, in a recent profile in The New Yorker, that she worried she\u2019d constructed \u201ca record that can\u2019t be made into a record,\u201d but that shakiness was merely a symptom of a feat of total abandon. The whole album flies. The opening song, \u201cI Want You to Love Me\u201d seems to offer a thesis for the meaning of life: to love, to connect, to get \u201cback in the pulse.\u201d She sings, scats, lightly raps\u2014and proceeds to curl her voice into an extended-vocal contortion \u00e0 la Yoko or Meredith Monk, over a Reichian piano loop, signaling an avant-garde inclination. Apple sings about time and meaninglessness, and how \u201cwhile I\u2019m in this body I want somebody to want.\u201d She sings about knowing that one day she will die. The song echoes the beautiful open letter she wrote in 2012 about her dog, Janet, who was then dying: \u201cI know that I will feel the most overwhelming knowledge of her [...] in the last moments.\u201d Apple reportedly \u201ctapped\u201d on a box containing Janet\u2019s bones during the recording of the album.\r\n\r\nThere is a tendency among songwriters, as they get older, to refine\u2014to use fewer words to allow for easier melodies. But to refine is to reel back, to withdraw. Apple does the opposite, reimagining her music to accommodate even more words, more of herself: \u201cYou\u2019ve got to get what you want/How you want it/But so do I,\u201d she sings on \u201cDrumset,\u201d grasping at every self-determined syllable. A number of Fetch the Bolt Cutters\u2019 rough-hewn tracks sound like they might collapse at any moment, only to pick themselves up with a smirk of cool relief. The incantatory \u201cRelay\u201d includes a fluttering ambient noise jam recalling no one so much as O.G. punk band the Slits. Across four distinct movements, the madcap \u201cFor Her\u201d pivots from a cabaret tune to a march to a swooping blues ballad to a one-woman choir of antagonizing angels. It is the definition of uncompromising. Apple\u2019s indictments of men are also cutting as ever\u2014\u201cYour face ignites a fuse to my patience,\u201d goes \u201cCosmonauts\u201d\u2014but her vulnerabilities are more daring, too. In a single word, her voice can dive from a ragged scream to a whisper so intimate that it barely exists outside of her.\r\n\r\nFetch the Bolt Cutters can threaten the status quo and it can be outrageously funny, often at once. The long-reigning queen of self-isolation proclaims, \u201cI told you I didn\u2019t want to go to this dinner,\u201d to open a song called \u201cUnder the Table,\u201d as in: \u201cKick me under the table all you want/I won\u2019t shut up.\u201d \u201cRack of His\u201d turns the experience of, well, getting played by a musician, into something hysterically subversive: \u201cCheck out that rack of his/Look at that row of guitar necks,\u201d she daydreams, before cutting to the quick: \u201cI thought you would wail on me like you wail on them.\u201d And on \u201cRelay,\u201d after listing off a series of things she resents about an ex, she offers a critique of our hyper-socially-mediated world so savage it practically demands a standing ovation: \u201cI resent you for presenting your life like a fucking propaganda brochure.\u201d With her humor comes a playfulness that is still genuinely disarming to hear from a woman who wrote a song about herself and titled it \u201cSullen Girl.\u201d\r\n\r\nThe title track, and the album\u2019s peak, is a work of musical bildungsroman, like a teenage girl\u2019s diary, detailing the futility of fighting your way through a friendship, crying, and the secret power of a Kate Bush song. Apple sings of how the cool girls in school damaged her self-esteem, how the strength of your mind does not guarantee the fortitude of your heart. The energy centers of the song are reversed\u2014the verses slink with gravity, the choruses are steadied and light. \u201cFetch the bolt cutters,\u201d Apple sings like a spell, \u201cI\u2019ve been in here too long.\u201d She has always strung words together like armor, but \u201cFetch the Bolt Cutters\u201d feels designed to protect us. However you interpret it, the line, the song, and the album speak the language of transcendence. In 1996, on \u201cThe Child Is Gone,\u201d Apple alluded to how the world can disconnect us from ourselves: \u201cI\u2019m a stranger to myself.\u201d On \u201cFetch the Bolt Cutters,\u201d Apple narrates this experience, reclaims it, and resists it\u2014a revolt against the very idea of being controlled.\r\n\r\nFetch the Bolt Cutters includes Apple\u2019s first songs discernibly addressed to other women. \u201cShameika\u201d also chronicles her formative years by way of a pep talk to herself and an ode to the middle-school classmate who emboldened her with only a few fleeting words: \u201cShameika said I had potential.\u201d The torchy barroom burner \u201cLadies\u201d is an anti-jealousy anthem and it is pure comic genius. \u201cLadies! Ladies! Ladies! Ladies!\u201d Apple toasts, imploring the new girlfriend of her ex-boyfriend to \u201cplease be my guest!\u201d to whatever she may have left in the back of his kitchen cupboards and bathroom cabinets: \u201cThere\u2019s a dress in the closet/Don\u2019t get rid of it/You look good in it/I didn\u2019t fit in it/It was never mine/It belonged to the ex-wife of another ex of mine.\u201d Fetch the Bolt Cutters is full of audacious scenes like this, where Apple narrates, in vivid detail, experiences we just don\u2019t typically hear in songs.\r\n\r\nThis is all in keeping with the feminist reckoning that has swept through culture in a post-#MeToo society. But Fetch the Bolt Cutters is never didactic, even on (the potentially triggering) \u201cFor Her,\u201d which Apple wrote in the wake of the shameful Brett Kavanaugh Supreme Court confirmation hearings. For an artist whose early career existed under an all-seeing male eye, Apple wrote the song \u201cNewspaper\u201d from an unmistakable female gaze. In its lyrics, she feels \u201cclose\u201d to another woman due to their shared past with an abusive man, as she observes his cruelty and lies from a distance. It\u2019s a nuanced way of addressing a systemic problem. \u201cIt\u2019s a shame because you and I didn\u2019t get a witness,\u201d she sings, but this song makes us all one, as do the brutal lyrics of \u201cFor Her.\u201d \u201cYou know you should know but you don\u2019t know what you did,\u201d she sings, and later: \u201cYou raped me in the same bed your daughter was born in.\u201d This is another side of Fiona Apple. It is not easy to sing along. But it demands that you listen.\r\n\r\nShe calls men out for refusing to show weakness, for treating their wives badly, for needing women to clean up their messes. Where The Idler Wheel explored a form of self-interrogation\u2014\u201cI\u2019m too hard to know,\u201d she crooned\u2014on Fetch the Bolt Cutters, she unapologetically indicts the world around her. And she rejects its oppressive logic in every note. The very sound of Fetch the Bolt Cutters dismantles patriarchal ideas: professionalism, smoothness, competition, perfection\u2014aesthetic standards that are tools of capitalism, used to warp our senses of self. Where someone else might erase a mistake\u2014\u201cOh fuck it!\u201d she chuckles on \u201cOn I Go\u201d\u2014she leaves it in. Where someone might put a bridge, she puts clatter. Where she once sang, \u201cHunger hurts but starving works,\u201d here, in the devouring chorus of \u201cHeavy Balloon,\u201d she screams: \u201cI spread like strawberries/I climb like peas and beans.\u201d There is nothing top-down about the sound of Fetch the Bolt Cutters. \u201cShe wanted to start from the ground,\u201d her guitarist David Garza told The New Yorker. \u201cFor her, the ground is rhythm.\u201d\r\n\r\nThere\u2019s considerable power in how Apple entertains so many of these wild, inexhaustible impulses. \u201cDon\u2019t you, don\u2019t you, don\u2019t you, don\u2019t you shush me!\u201d she chips back on \u201cUnder the Table.\u201d She will not be silenced. That\u2019s patently clear from the start of Fetch the Bolt Cutters. In gnarled breaths on its opening song\u2014feet on the ground and mind as her might\u2014Apple articulates exactly what she wants: \u201cBlast the music! Bang it! Bite it! Bruise it!\u201d It\u2019s not pretty. It\u2019s free.", "example_title": "Fiona Apple"}]}
transformers pytorch longformer text-classification autotrain_compatible endpoints_compatible has_space region:us
TAGS
#transformers #pytorch #longformer #text-classification #autotrain_compatible #endpoints_compatible #has_space #region-us 


# Music Album Rating Prediction
Trained on a dataset of Pitchfork's album reviews. Taking review text as input to predict the rating (0-10). Insert your own text review or pick one of the examples from the dropdown.
# Music Album Rating Prediction
Trained on a dataset of Pitchfork's album reviews. Taking review text as input to predict the rating (0-10). Insert your own text review or pick one of the examples from the dropdown.
TAGS
#transformers #pytorch #longformer #text-classification #autotrain_compatible #endpoints_compatible #has_space #region-us 
 # Music Album Rating Prediction
Trained on a dataset of Pitchfork's album reviews. Taking review text as input to predict the rating (0-10). Insert your own text review or pick one of the examples from the dropdown.
TAGS
#transformers #pytorch #longformer #text-classification #autotrain_compatible #endpoints_compatible #has_space #region-us 
# Music Album Rating Prediction
Trained on a dataset of Pitchfork's album reviews. Taking review text as input to predict the rating (0-10). Insert your own text review or pick one of the examples from the dropdown.