2010 has been a busy year for Beach House—you had shows in 17 different countries, right?
Yeah, this year has been a robust year in terms of performances. We just played our 148 show for this year yesterday.

But you guys like touring, right?
We do like touring. I think that part of our process is that we try to make it as exciting as possible for our fans and ourselves. It's something we look forward to. I think after 148 shows we get a little worn out, but it's not soul crushing or something.

How do you stay interested and keep from getting bored during such a rigorous tour?
Right now, it's thinking about the future and new songs. Earlier this year, it was getting excited about places we were going to go, places like Portugal and Australia. It's the little things—you remember the places you've been and enjoyed, you remember people you've worked with that you'll get to see again. Now, it's all about tapping back into things that inspire us. They're always changing, and if you're still finding new things, then a part of you has survived the long year.

What are some of those things that you find inspiring?
Well, it's about getting back to Baltimore and our practice space. Getting back to a piano or guitar, where we started. It's a question of time as well, having the time to have your thoughts and fantasies. It's very difficult to write on the road, you can write bits and pieces, but it really is about being in a place where you feel free. There's not much freedom on tour, that's the irony; you're always scheduled.

What is your space in Baltimore like?
It's very large and full of our instruments and organs, full of random things we have that we love—objects, images, blankets, a lioness statue—things that are ours that define us. It's basically like our house and literally the place we love the most. It represents our time to express ourselves.

How long have you had the space?
Since before the writing had begun...I guess it would be early 2009. We had always been in Alex's house or apartment or basement, and then after Devotion and touring it, what we wanted was a place that was our own, where we could feel protected and not worry. We've shared places with other bands— we've shared a place with hardcore bands and we'd be in there trying to write little songs and someone would start doing a blast beat, and we couldn't work anymore. We needed a place to have our own universe, and I can't wait to get back to it.

What about Baltimore—how long has that been your home?
Since 2004. Alex was born and raised there. I was born in Paris and moved to the States as a young lass. If someone asked me where I was from, I'd say a mix of Paris and rural Maryland and Philadelphia. I don't really have one place that identifies me. But now? Definitely Baltimore. It has a lot of character, and it's not what you expect.

What do you mean by that?
People might say there is nothing there, because it doesn't have the allure of other places. But that's why it's so special, because it's what you make of it. You create your own universe there, and there's no distraction with sights or hype, no one climbing over your back to get to another level. You can do your own thing and that doesn't change.

What have you and Alex learned about working together so as to not burn out?
We always try to be on the same page. Working together has always been natural and playful and passionate—we have a musical language that many people never find, and I feel really lucky we have that. We don't think about it very much, it's the same way you find a best friend, it's as natural as that. There just happens to be music between us, that's the part we create. That's the big moment between us as Beach House. When we met, he was a bass player, which I was looking for for another small project. We hung out more and more, and soon we were writing the self-titled first record, and we didn't expect anything would happen from it. We just wanted to tour, we were full of passion and we always try to get back to that and keep it exciting. It's hard to keep that excitement sometimes, but we have each other, side-by-side.

You've described your songs as very visual. Can you explain?
When I hear something and it effects me, it causes something imaginative to occur. It's very visceral and when we're writing and coming up with something and taking it to where it can go—visions just happen during that process. We're attracted to sounds that glow. People that like our music have always had a visual response to it. I think visuals and music are so powerful together, and are constantly feeding off each other. It's a given, you know? When I'm into something, I see designs and shapes and colors and a scene.

You directed the video for "Silver Soul." Would you want to direct again?
If I have a supremely powerful vision like I did for "Silver Soul," I would, but it's not my calling to direct videos. I have ideas, and I feel like if I had another vision I would give it a try, but right now I'm most antsy about the musical part of my brain.

In choosing to call the album Teen Dream, was that nostalgic or romantic?
Not nostalgic for us. I would say it was a present, spontaneous, abstract splash of expression, something that was the result of an intense feeling. It was something very classic and we believed in it immediately. When we hear something, when we think of a title...we know it's right. We're in touch with our gut, and we never try to intellectualize anything because you over-think things and get in the way of the artistic flow. Teen Dream is like that, we start to get an idea of what the record's world is. It's in your head and in your mouth but you can verbalize it...Teen Dream is the result of that. It felt extremely right, and we kept it.

What would you say is a particular moment that stands out as highlight of this year?
Every year has been big in the sense that it's all been a constant evolution for us. I don't think that this record or this year has been a giant leap in anything we've done. Up until this point, we've done everything for ourselves. It's the result of intense touring and writing, chasing and pursing ideas. When you make a record and you're done with a record, you don't know what's going to happen. You just know you finished it, and you never expect that to happen afterwards. We're just grateful. We've just been touring this whole year, so all we really see is the people who come to the shows. I don't like to read anything, I don't want that strange perspective and then perish.

Anything you're looking forward to in 2011?
I would really like to write another record and get back to finding a new world. I'd like to continue growing as a human and discover new things I'm passionate about and that excite me. I used to say I don't like to think about the future, but now that I'm getting older, I find the future is really exciting. In your early to 'mid-20s, you're all about the moment, but as you get older, the future is about your dreams and fantasies. I'm excited to work with Alex and find a new place, and we'll find it, but in the way we found the last four years: organically, simply.