DOHERTY: There’s a bunch of tunes that are on the album, that are not in the public domain. We’ve had the chance to really live with them live. We’ve only played like 25 gigs, 26 gigs. In fact, after SXSW we’re probably up to 30. Even in that short time, it gives you a totally different perspective. It’s like taking your songs to a nightclub and playing them on the PA and just watching what people do. It gives you a chance to see how people perceive your music rather than how you think about it yourself, so that can be valuable. Even the mechanics of things. You can tell what sonically works, and get the chance to change up vocal melodies, that kind of thing. So it’s been useful for sure.

HODGES: You’ve said the recording process for your upcoming album wasn’t really crunched together, but happened more over time. Do you think you’d cut an album the other way, or that there’s value to it? Or would you always prefer to have it materialize as you go?

DOHERTY: I’ve recorded records in the past where it’s been all pressure, and done this thing where everyone goes away and you just get focused in on your album. I can definitely see the merit in that. But I feel like the results of this more patient approach have been more enjoyable for me, anyway. I think whenever possible, we’ll do that same kind of relaxed approach. I guess talk to me in nine months, if things go well. If the record company asks, “Where the fuck’s the second album?” [laughs] It may be a different story. But before we can start talking about the second record, we need to stay focused on the first.

HODGES: Coming from different backgrounds creatively, was it ever hard to jump in to writing new songs for the album together and to be in sync?

DOHERTY: That was something that was initially a little strange, but as we’ve grown over the first few months, we’ve really learned to trust each other creatively. And with that, being on the same page as well. The way the material came about for this album has felt really organic and really natural. Just feels like we all have a really clear idea of where we’re going. After the first few months, when you’re trying to figure out what you want to sound like, it’s kind of a situation where you take the ball and you run with it.

HODGES: You’ve been asked this before, many times, but who came up with CHVRCHES and why the switch to the “V”?

DOHERTY: CHVRCHES came around because it was crunch time in deciding the name. We tried, and tried, and tried. We couldn’t agree on anything, which was unusual, because the music was coming about really well and really easily, we just couldn’t figure out a name. We just chose it because it was big and bold, and just one word. And it wasn’t difficult to pronounce. After we decided on it, we realized it was more or less impossible to Google. It wasn’t until “Lies” came out that we came to this realization. [laughs] There’s a girl called Amy who’s designed all of our artwork. She’d already stylized the logo with the “V” in it. It kind of felt natural just to go with that. Now, we don’t have to compete with anyone, which is cool. You don’t want to go up against that Jesus guy. He is pretty popular.