Q: Given the below context: Meshuggah's experimentation, stylistic variation and changes during its career cross several musical subgenres. Heavy metal subgenres experimental metal or avant-garde metal are umbrella terms that enable description of the career of the band in general. Extreme metal crosses both thrash metal and death metal (or technical death metal), which are at root of the sound of Meshuggah's music, which has also been described as groove metal. The band has also been labelled as math metal and progressive metal. Meshuggah also incorporates elements of experimental jazz. In its review of Nothing, Allmusic describes Meshuggah as "masterminds of cosmic calculus metalcall it Einstein metal if you want". Meshuggah's early output was also considered alternative metal. Meshuggah creates a recognizable sonic imprint and distinct style.Trademarks and characteristics that define Meshuggah's sound and songwriting include polyrhythms, polymetered riff cycles, rhythmic syncopation, rapid key and tempo changes and neo-jazz chromatics. Hagstrom notes that "it doesn't really matter if something is hard to play or not. The thing is, what does it do to your mind when you listen to it? Where does it take you?" A trademark of Thordendal is jazz fusion-like soloing and improvisation. He is also known for the usage of a "breath controller" device. Haake is known for his cross-rhythm drumming with "jazzlike cadence". The vocal style of Jens Kidman varies between hardcore-style shouts and "robotic" death metal vocals.In polymeters typically used by Meshuggah, the guitars might play in odd meters such as 5/16 or 17/16, while drums play in 4/4. One particular example of Haake's use of polymeter is 4/4 against 23/16 bimeter, in which he keeps the hi-hat and ride cymbal in 4/4 time but uses the snare and double bass drums in 23/16 time. On "Rational Gaze" (from Nothing), Haake plays simple 4/4 time, hitting the snare on each third beat, for 16 bars. At the same time, the guitars and bass are playing same quarter notes, albeit in a different time... Guess a valid title for it!
A: Meshuggah

Q: Given the below context: Matlock was replaced by Rotten's friend and self-appointed "ultimate Sex Pistols fan" Sid Vicious. Born John Simon Ritchie, later known as John Beverley, Vicious was previously drummer of two inner circle punk bands, Siouxsie and the Banshees and The Flowers of Romance. He was also credited with introducing the pogo dance to the scene at the 100 Club. John Robb claims it was at the first Sex Pistols residency gig, 11 May 1976; Matlock is convinced it happened during the second night of the 100 Club Punk Special in September, when the Pistols were off playing in Wales. In Matlock's description, Rotten wanted Vicious in the band because "[i]nstead of him against Steve and Paul, it would become him and Sid against Steve and Paul. He always thought of it in terms of opposing camps".Julien Temple, then a film student whom McLaren had put on the Sex Pistols payroll to create a comprehensive audiovisual record of the band, concurs: "Sid was John's protege in the group, really. The other two just thought he was crazy." McLaren later stated that, much earlier in the band's career, Vivienne Westwood had told him he should "get the guy called John who came to the store a couple of times" to be the singer. When Johnny Rotten was recruited for the band, Westwood said McLaren had got it wrong: "he had got the wrong John." It was John Beverley, the future Vicious, she had been recommending. McLaren approved the belated inclusion of Vicious, who had virtually no experience on his new instrument, on account of his look and reputation in the punk scene. Guess a valid title for it!
A: Sex Pistols

Q: Given the below context: Frances died in 1986, and Elsie in 1988. Prints of their photographs of the fairies, along with a few other items including a first edition of Doyle's book The Coming of the Fairies, were sold at auction in London for 21,620 in 1998. That same year, Geoffrey Crawley sold his Cottingley Fairy material to the National Museum of Film, Photography and Television in Bradford (now the National Science and Media Museum), where it is on display. The collection included prints of the photographs, two of the cameras used by the girls, watercolours of fairies painted by Elsie, and a nine-page letter from Elsie admitting to the hoax. The glass photographic plates were bought for 6,000 by an unnamed buyer at a London auction held in 2001.Frances' daughter, Christine Lynch, appeared in an episode of the television programme Antiques Roadshow in Belfast, broadcast on BBC One in January 2009, with the photographs and one of the cameras given to the girls by Doyle. Christine told the expert, Paul Atterbury, that she believed, as her mother had done, that the fairies in the fifth photograph were genuine. Atterbury estimated the value of the items at between 25,000 and 30,000. The first edition of Frances' memoirs was published a few months later, under the title Reflections on the Cottingley Fairies. The book contains correspondence, sometimes "bitter", between Elsie and Frances. In one letter, dated 1983, Frances wrote: I hated those photographs from the age of 16 when Mr Gardner presented me with a bunch of flowers and wanted me to sit on the platform [at a Theosophical Society meeting] with him. I realised what I was in for if I did not keep myself hidden. The 1997 films FairyTale: A True Story and Photographing Fairies were inspired by the events surrounding the Cottingley Fairies. The photographs were parodied in a 1994 book written by Terry Jones and Brian Froud, Lady Cottington's Pressed Fairy Book.In 2017 a further two fairy photographs were presented as evidence that the girls' parents were part of the conspiracy.... Guess a valid title for it!
A:
Cottingley Fairies