With the demise of the Mercy Brothers, Kevin Sekhani is looking to get back out there on his own.

Sekhani is a Lafayette native who graduated high school in Covington before returning to the Hub City (only to venture out to Austin for 20 years before re-returning to Lafayette). Now he has polished up some of his old songs, added a new one, and released Day Ain’t Done.

Of the 12 cuts on the record, all except the title track appeared on his 2009 CD Sumner Street. They show up here in remixed and remastered formats or re-recorded versions. But Sekhani is quick to call it a new album, noting the rest of the world is hearing these songs for the very first time.

What the world will hear is Sekhani’s take on Austin’s roots rock scene by way of Acadiana. Like all his work, it is well written and expresses the duality of his Austin roots-rocking and the setting of his raising. Some songs have such a sense of place—especially “Oilfield Tan” and the title track—that at least one critic dubbed it a Cajun record, which it is not (it relates to Cajun music the way Los Lobos relates to mariachi music). While this record isn’t going to be nominated for a Cajun Grammy, it’s hard to remove the Louisiana from the tracks. The South Louisiana touches come via accordion and fiddle plus references to Louisiana human geography (“The Higher I Get,” “Carol Ann”).

The most Acadiana-centric cut—and the most popular from Sumner Street—is “Oilfield Tan.” Sekhani pulls on the experiences of family and friends who have worked in the industry to create an anthem for the blue-collar workers who populate the local workforce. Though it’s filled with roughneck and roustabout references—“I’m waiting on PHI”—it’s catchy and appeals to all economic sectors.

It’s obvious Sekhani’s background has had a profound effect on his songwriting. Either drawing from his time in Texas or Louisiana, Day Ain’t Done is proof that his inspiration works.