Offering Ron Sexsmith advice on songwriting is like, say, counselling North America on the how-tos of overconsumption.

But sitting across from the Canadian songwriter yesterday in a local Irish pub, where he was brought to promote the latest in his consistently brilliant catalogue, Time Being, it was impossible to fight the urge.

Sexsmith, it was boldly proposed, should consider purposefully sucking. Huge.

That way, not only would people notice, but his following album would receive extraordinary press and praise, being touted as the folk pop masterpiece it most certainly would be. "Sometimes I've wondered about that," the amiable Sexsmith says, while supping a Guinness.

"Especially in the U.K., because journalists or the music press won't even write about you unless you're screwing up or have a drug problem or you make a bunch of crappy albums.

"I've always tried to be consistent, you know? Because every record I make feels like another chance to make a first impression because I'm still relatively unknown."

Therein lies the real crime.

After 10 releases (the Mitchell Froom-produced Time Being, his 10th, hit stores Tuesday) Sexsmith is still considered something of an enigma -- a man so skilled at his craft, his peers fawn, the critics yawn ("Oh, another great Sexsmith record?") and the mainstream remains oblivious.

He's even, despite his output and accolades, seen as an unproven commodity by labels, especially south of the border.

Four American labels, Sexsmith says, offered to release the sublimely understated and poetic Time Being, before backing out. "Now, it's kind of a surreal thing that's happening, we may be signing, just for the U.S., with Kiefer Sutherland, who has a label, Ironworks."

Sexsmith is hoping if the songs themselves can't help him find an audience, the 24 factor might earn him a spot on elusive showcases such as Letterman or Leno, and in turn take him to another level. If not, he'll keep making his music for those fans who have followed his career for the past decade-and-a-half, and making his music for an audience that's still difficult to really define.

"I wonder," Sexsmith says, thoughtfully pondering who they may be. "I know that ultimately I'm not very good at a lot of things. I don't have any skills. There's one thing that I like to do, so I take it seriously. In some ways you can say I'm just writing for myself -- I guess that's how I make myself feel useful."