Glynn Wedgewood, one-time native of Nottingham, England, now calls Austin, Texas his home. After relocating to the United States in the mid-aughts with IV Thieves (One Little Indian, New West) and touring with Oasis, Paul Weller, and too many other to mention, Glynn soon found his own vehicle in Stereo Is A Lie.
In January 2010 they were named The Deli’s ‘Emerging Artist of 2009’, beating out competition from Neon Indian and Black Joe Lewis. Stereo Is A Lie have shared the stage with the likes of Rob Dickinson (Catherine Wheel), Dead Confederate, Sixteen Deluxe and many others. May 2010 saw SIAL complete the recording their debut album, which was subsequently mixed by Chris Cline (...Trail Of Dead, The Society Of Rockets, Elephone, etc.) and then mastered by John Golden (Sonic Youth, Film School, Japandroids, etc.)
- Black Rebel Motorcycle Club, The Duke Spirit, Constantines, Alternative Rock, Rock
Press for Glynn Wedgewood
The Performer-"Dark. Melodic. Psychedelic. These are just a few of the adjectives one could utilize to describe Stereo is a Lie. On their self-titled debut, the band has carved out an identity for themselves, offering up a collection of deliciously raunchy and anarchical 1980s-inspired arena rock. The record practically begs to be put into the listener’s stereo and turned up at maximum volume. Frontman Glynn Wedgewood’s inimitable vocals shine throughout, calling to mind Thom Yorke of Radiohead, while fellow band mates build subtle, mature layers of sound through a variety of symphonic instruments." -Julia R. DeStefano
The Onion A.V. Club-“On its self-titled debut, Stereo Is A Lie arrives with a fully formed sound: a towering mix of Britpop swagger, post-punk paranoia, and arena-rock bombast. Frontman Glynn Wedgewood’s vocals simmer in the verses, then explode in the choruses, striking the same type of needling/inspiring balance that has served fellow countrymen like Thom Yorke, Damon Albarn, and Liam Gallagher so well. Behind those vocals, Wedgewood and his bandmates build mountains of sound, setting a pre-apocalyptic atmosphere of air raid-siren guitars, voices harmonizing across vast distances, and drums that would just as soon blow the hinges off the door as lead a woozy waltz. It’s as symphonic as a band can get without employing an actual symphony—on standout ballad “I Won’t,” even the melodica sounds downright monolithic.”