Classic Chuck Taylors, limited re-release hi-top Dunks, and throwback Vans slip-ons aside, Good Shoes represent something far less superficial and trendy. As childhood friends, Rhys Jones, Steve Leach, Joel Cox and younger brother Tom Jones initially sought to channel their nervous energy through one of their many creative outlets: music. But from those jam sessions that took place in Rhys’s parent’s garden shed, something much grander sprouted to life. Not only did their music allow them an escape from their everyday frustrations and gripes of suburban growing pains, but they managed to treat the London music scene as a blank canvas, enabling them artistic expression on their own terms.

What obstacles have you had to overcome being a relatively new band in the over-saturated London music scene?

When we started off, we then realized how many bands there are in London just playing about. We never really thought about how we were different from anybody. We just sort of made the music that we liked and played the gigs that we liked, when we were able to start choosing where we played. We just sort of did our own thing for awhile and kept to ourselves, really. We had all our own demos which were handmade. And then we went with Young and Lost Club Records which is this small London label that put out our first single, which gave us quite a lot of attention. By coincidence Brille saw some shows, liked it, and came to us. Then we signed with Brille and it all started happening from there.

It seems important for you to maintain much of the creative control. Is that the case and does Brille grant you that freedom?

Yeah, yeah. When we did our demo, the artwork was really thought about. And with our first single, we got complete control of what it looked like. Like the Knife as well, who are on Brille… their live show and their aesthetic and artwork is very important to them. Each thing that we release in England is all pretty similar; all pictures of animals or objects or drawings I’ve done… just to keep everything looking really good and interesting for people cause there’s just so much crap artwork out at the moment. Yeah, that’s really important for me to keep in control of that on the record label and in control of the videos. I don’t know if you’ve seen them, but that’s a big part of what we’re about.

I’ve seen the video for “Photos On My Wall”… great song by the way.

Yeah, that song is one of our favorites to play live. I still listen to it and it hasn’t gotten to me. “Ice Age” is another one that I really like. That one I feel like it’s really sort of quite clever music but it’s still a simple pop song as well.

I was just about to say that from the handful of tracks I’ve heard, your song structures and tempos seem fairly complex. But also, you seem to understand the importance of including a touch of pop in terms of attracting a wider audience. Was that interplay a conscious thing or was it more organic?

It was definitely more organic, but now it’s something that I’m more conscious about. I guess that’s what we sort of like about music. We get bored of songs pretty quickly. Especially with our songs; if they’re too long, we make them short. Like with “Photos On My Wall”, [the point is] to just be clever but dumb at the same time [laughs].–Clint Stewart