Problem: Given the below context: Young filmmaker Stevie Horowitz eagerly awaits a meeting with big shot Hollywood film producer J.P. Shelldrake. Shelldrake has been desperately searching for a way to avoid problems with the IRS and unpaid millions owed them in back taxes. His brilliant yet overpaid accountant devises a scheme to allow the producer to write off the expenses of his next movie release, but only if the film is a box office flop. Armed with his foolproof plan, Shelldrake agrees to meet with Stevie and screen his film "Lobster Man From Mars" (financed by Stevie's jailed con man Uncle Joey). The plot resembles the premise of The Producers by Mel Brooks. Inside Shelldrake's private screening room, the "film within the film" begins. They watch the weird plot unfold: Mars suffers from a severe air leakage. The King of Mars commands the dreaded Lobster Man and his assistant Mombo, a gorilla wearing a space helmet, to pilot his flying saucer to Earth then steal its air. Once landed, the Lobster Man wastes no time transforming hapless victims into smoking skeletons. On a lonely road, John and Mary, a young and innocent couple discovers the hiding place of the flying saucer in a dark and mysterious cave. They attempt to warn the authorities but are ignored. Successfully contacting Professor Plocostomos, a plan is created to lure the Lobster Man to Mr. Throckmorton's Haunted House that just happens to be surrounded by boiling hot springs. Once lured, it is simply a matter of pushing the Lobster Man into the hot water where he will be boiled to death. The plan is interrupted by Colonel Ankrum and his troops. The house is shelled and destroyed, the Lobster Man flees to his cave, taking Mary with him. Guess a valid title for it!

A: Lobster Man from Mars

Problem: Given the below context: Yorke said that the starting point for the record was the "incredibly dense and terrifying sound" of Bitches Brew, the 1970 avant-garde jazz fusion album by Miles Davis. He described the sound of Bitches Brew to Q: "It was building something up and watching it fall apart, that's the beauty of it. It was at the core of what we were trying to do with OK Computer." Yorke identified "I'll Wear It Proudly" by Elvis Costello, "Fall on Me" by R.E.M., "Dress" by PJ Harvey and "A Day in the Life" by the Beatles as particularly influential on his songwriting. Radiohead drew further inspiration from the recording style of film soundtrack composer Ennio Morricone and the krautrock band Can, musicians Yorke described as "abusing the recording process". Jonny Greenwood described OK Computer as a product of being "in love with all these brilliant records ... trying to recreate them, and missing."According to Yorke, Radiohead hoped to achieve an "atmosphere that's perhaps a bit shocking when you first hear it, but only as shocking as the atmosphere on the Beach Boys' Pet Sounds." They expanded their instrumentation to include electric piano, Mellotron, cello and other strings, glockenspiel and electronic effects. Jonny Greenwood summarised the exploratory approach as "when we've got what we suspect to be an amazing song, but nobody knows what they're gonna play on it." Spin characterised OK Computer as sounding like "a DIY electronica album made with guitars".Critics suggested a stylistic debt to 1970s progressive rock, an influence that Radiohead have disavowed. According to Andy Greene in Rolling Stone, Radiohead "were collectively hostile to seventies progressive rock ... but that didn't stop them from reinventing prog from scratch on OK Computer, particularly on the six-and-a-half-minute 'Paranoid Android'." Writing in 2017, The New Yorker's Kelefa Sanneh said OK Computer "was profoundly prog: grand and dystopian, with a lead single that was more than six minutes long." Guess a valid title for it!

A: OK Computer

Problem: Given the below context: After two more EPs on Kompakt, the Orb (now composed of only Paterson and Fehlmann) released Okie Dokie It's The Orb on Kompakt, which featured new material in addition to tweaked versions of their previous Kompakt output. By this stage, Allmusic observed, Thomas Fehlmann had become the primary creative figure in the Orb, "inhibiting Alex Paterson's whimsical impulses". Because of this, Okie Dokie was considerably more focused and less "goofy" than Cydonia and Bicycles & Tricycles. Fehlmann's trademark hypnotic loops and delays made him the centre of Okie Dokie production and, according to Pitchfork Media, made it "difficult to say where [Paterson] is in the picture". The Orb's releases with Kompakt gained them back much of their musical credibility with the press and showed that they could "age gracefully".In August 2006, the founders of the Orb - Paterson and Cauty - released Living in a Giant Candle Winking at God, their debut album as the Transit Kings with Guy Pratt and Pratt's associate, Dom Beken. The album featured appearances from Smiths' guitarist Johnny Marr and comedian Simon Day. Beken described Living in a Giant Candle Winking at God as "self-consciously musically written and less sample-based" compared to the members' previous work. Living had been in production since 2001, but due to members' other obligations, it was delayed for several years. The album received mixed critical reactions, with reviewers such as The Sun comparing the album favourably to the music of DJ Shadow and Royksopp while other publications, such as The Times, called it "Orb-lite" and proclaimed it to be "Deep Forest-style sludge". Soon after the album's release, Cauty left the Transit Kings on "extended leave", leaving the project in indefinite limbo. Paterson and Beken reunited in 2008 as High Frequency Bandwidth, an ambient hip hop group on the Malicious Damage label. Guess a valid title for it!

A:
The Orb