Question: Given the below context:  Piper reported that as he was leaving Exchange Buildings to return to Houndsditch he saw a man acting suspiciously in the shadows of the cul-de-sac. As the policeman approached him, the man walked away; Piper later described him as being approximately 5 feet 7 inches (1.70 m), pale and fair-haired. When Piper reached Houndsditch he saw two policemen from the adjoining beats—constables Woodhams and Choate—who watched 120 Houndsditch and 11 Exchange Buildings while Piper went to the nearby Bishopsgate Police Station to report. By 11:30 seven uniformed and two plain clothes policemen had gathered in the locality, each armed with his wooden truncheon. Sergeant Bentley from Bishopsgate police station knocked at number 11, unaware that Piper had already done so, which alerted the gang. The door was answered by Gardstein, who made no response when Bentley asked if anyone was working there. Bentley asked him to fetch someone who spoke English; Gardstein left the door half-closed and disappeared inside. Bentley entered the hall with Sergeant Bryant and Constable Woodhams; as they could see the bottom of his trouser legs, they soon realised that someone was watching them from the stairs. The police asked the man if they could step into the back of the property, and he agreed. As Bentley moved forward, the back door opened and one of the gang exited, firing from a pistol as he did so; the man on the stairs also began firing. Bentley was shot in the shoulder and the neck—the second round severing his spine. Bryant was shot in the arm and chest and Woodhams was wounded in the leg, which broke his femur; both collapsed. Although they survived, neither Bryant or Woodhams fully recovered from their injuries.As the gang exited the property and made to escape up the cul-de-sac, other police intervened. Sergeant Charles Tucker from Bishopsgate police station was hit twice, once in the hip and once in the heart by Peters: he died instantly. Choate grabbed Gardstein and wrestled for his gun, but the Russian managed to shoot him...  Guess a valid title for it!
Answer: Siege of Sidney Street

Question: Given the below context:  Is This It received widespread critical acclaim; aggregating website Metacritic reports a normalized rating of 91, based on 26 critical reviews. Joe Levy of Rolling Stone explained that the record is "the stuff of which legends are made", and summed it up as "more joyful and intense than anything else I've heard this year". Robert Christgau, writing in The Village Voice, described the Strokes as "a great groove band", and noted that "the beats implode, clashing/resolving with punky brevity and gnarly faux simplicity". In a perfect 10 review, NME reviewer John Robinson indicated that Is This It was one of the best debut LPs by a guitar band during the past 20 years. In contrast, Jon Monks of Stylus commented that its shallowness prevents it from ever being called a "classic". In his favorable A– review, David Browne of Entertainment Weekly conceded that he did not know whether the Strokes would have a long-term impact, but noted that, at the time, the record "just feels right, and sometimes that's enough".Mark Lepage of Blender claimed that Is This It is similar to the works of 1970s bands the Velvet Underground, Television and the Feelies. Pitchfork's Ryan Schreiber suggested that, while the work of the Velvet Underground is an obvious inspiration for the Strokes, the band's only similarity to the other groups is the confidence with which they perform. AllMusic's Heather Phares concluded, "Granted, their high-fashion appeal and faultless influences ... have 'critics' darlings' written all over them. But like the similarly lauded Elastica and Supergrass before them, the Strokes don't rehash the sounds that inspire them—they remake them in their own image."Is This It was named the best album of 2001 by Billboard, CMJ, Entertainment Weekly, NME, Playlouder, and Time. Magnet, Q, and The New Yorker included it in their respective unnumbered shortlists of the best records issued that year. It figured highly in other end-of-year best album lists: at number two by The Herald, at number three by Mojo, at number five...  Guess a valid title for it!
Answer: Is This It

Question: Given the below context:  Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.  Guess a valid title for it!
Answer:
Stereolab