"Ernesto Diaz-Infante, west-coast composer and guitar/bajo sexto visionary, and Lisa Cameron, Texas psychedelic shaman, percussionist and multi-instrumentalist, first played together at the KSE 6th Anniversary Concert in Austin in 2012 ). Since then, Lisa has traveled out to the Bay Area a few times to work and record with Ernesto, and the rapport of these two is nothing short of musical alchemy. SOL ET TERRA was recorded at Ernesto’s home studio, and once again, these two deliver something amazing and unexpected. There is a lot of Ernesto’s hypnotic close-miked raga-like “strumming” style, and when that’s mixed with Lisa’s tribal-psych percussion and warped jagged lap-steel and various electronic treatments, it’s hard to tell the contributions of the two musicians apart. As with all higher-key sounds (think Ya Ho Wa 13 or Book of Shadows), this is music of the elements, fire-water-earth-air, and it creates a kind of rarefied sacred-space wherever you listen to it.
SOL ET TERRA presents two contemporary masters at the top of their game….as we said above, it’s higher-key sonic alchemy of the deepest and most profound sort."
Bill Shute, Kendra Steiner Editions kendrasteinereditions.wordpress.com
Bill Shute, author, poet, and head of Kendra Steiner Editions, released 400 CDR's and poetry books in limited editions from 2006 until recently, when he decided to focus on writing and poetry and has deleted the musical catalogue. He continues to release his and other writings on KSE, at kendrasteinereditions.wordpress.com.

"A partnership stripping the concept of musical interaction down to its bare essentials, this duo’s sonorities place the receiver of their chemistry right into a sphere where nothing counts except a constant resonance made, so to speak, of rich humbleness. Through the exercising of superimpositions of tolling pulses, balanced touches of emaciated electronics, inspired percussiveness and the trademark cloud of upper partials that hovers around whenever Diaz-Infante is embracing one of his multi-stringed babies (example: “Labor And Fruits”), a music is born which all but suffocates whatever negative current one might be pervaded by in any given moment. An almost anesthetizing experience where the lo-fi quality of the recording does not hinder the flow. Geometries open to a plurality of individual intersections, remaining completely understandable even when slightly altered by slow sliding, as in the final track “The Daughter”. Musicians who discard useless accessories, refuse seclusion, use noise only when strictly necessary, look at their (and our) lives with a delicate smile. You can feel all of this in the sounds they emit; it’s not an insignificant gift." Massimo Ricci, Touching Extremes