Hawksley Workman is a true chameleon.

The ever-effervescent singer/songwriter has assumed many personas over the past decade. His 2001 breakthrough record, (Last Night We Were) The Delicious Wolves introduced us to a quirky cabaret singer with a penchant for sexed-up lyrics, while 2003's Lover/Fighter saw Workman morph into swaggering glam-rock icon.

But perhaps it was 2006's stripped-down folk outing Treeful of Starling that marked the most surprising chapter of Workman's musical evolution - a jarring, and somewhat alienating departure from the pomp of outings past.

Now, Workman (aka Ryan Corrigan) is taking yet another musical route with his latest studio album, Between the Beautifuls.

Uptown catches up with Workman about the new record, his soft spot for the 'Peg and his fearless musical journey.

Uptown: You seem to have a bit of a love of Winnipeg. Excited to be coming back?

Hawksley Workman: I like Winnipeg a lot. We actually shot the video for Piano Blink at Portage Place in December. They blocked the whole place for us. They also kept Starbucks open all night. And all the photography for Between the Beautifuls was shot by a Winnipegger, Shanti Subedar.

U: Speaking of Between the Beautifuls, let's talk about the new record. It's not as folk-inflected as Treeful of Starling - it actually seems to have a little Lover/Fighter in it. What was your creative direction on this one?

HW: I wish I could say I was clever and think about these things. I always just go into the studio and let it fall out. But you're right - it sounds like a marriage between Treeful of Starling and Lover/Fighter, almost. Lots of these songs were written when I moved to California, when I was in a dark place. They were like old friends to me. I think my best writing is on this record.

U: You worked with an outside producer on the album. What did Andre (Wahl) bring to the table?

HW: Andre brought polish to the table. He allowed me to be the singer and the artist. I didn't have to think too
much beyond writing the songs, showing up and performing them. Where I'm inclined to do something once and call it great, Andre's a do-it-'til-it's-right kind of guy.

U: That's interesting, because you're a producer yourself. Aren't producers supposed to be finicky?

HW: I have an 'Ah, fuck it - it's great' attitude towards my own work, but when I'm hired to do it, I take it more seriously. It's not that I do my own records wrong, I'm just comfortable with a certain amount of haphazardness in my own work. But that doesn't mean I inflict my lacksidaisical attitude on other people's work.

U: The liner notes say you collaborated with the Krakow Children's Ensemble on Oh You Delicate Heart. I read that that was sort of a fib.

HW: (laughs) I fib a lot - it keeps my life interesting. I have a deep fascination with Eastern Europe. I dream of making a record in Krakow. I like the coldness of the place and how dark and dismal it is.

U: No wonder you have a thing for Winnipeg...

HW: (laughs) I think Winnipeg has a lot more to offer than that.

U: You've invented and re-invented yourself throughout your career. Describe your journey so far.

HW: It's been fun. I think I've gotten away with a lot of things other artists haven't. I think to be successful and to make lots of money, you have to keep releasing the same record. I've bent or broken all the rules - but I can still pay the rent. I still feel like I can break new ground.

I've got to believe that I can stay vital and exciting. I've been looking a lot to the careers of people like Neil Young and Bruce Cockburn and their most recent records, and I got to believe that 50 and 60-year-old musicians can still contribute to a society that's increasingly plastic.

I have to believe I can stay prolific and relevant - even if it's for my own sanity.