Este quinto disco cuenta la historia de un “Pies Grandes” que recorre la historia de la humanidad, desde el paleolítico hasta la era del 2.0. Una fantástica y delirante “road-movie” sobre las paradojas de la civilización. Luego de haberse valido del mash-up idiosincrático, de la hibridez cultural y de la ciencia del desconcierto para esbozar un sonido característico, Axel Krygier presenta Hombre de Piedra. Un punto de inflexión en la trayectoria del músico argentino, en el cual no sólo sintetiza su identikit musical, sino que suma nuevos argumentos sonoros y estéticos. A contramano de sus álbumes anteriores, cuyos repertorios estuvieron más próximos al collage, Hombre de Piedra es un disco conceptual, una fantástica y delirante “road-movie” sobre las paradojas de la civilización, inspirado por el documental francés Lascaux: Le Ciel des Premiers Hommes. Este quinto disco cuenta la historia de un “Pies Grandes” que recorre la humanidad (desde la prehistoria hasta la era del 2.0) a través de canciones para las que prestaron sus voces artistas como Daniel Melingo o el francés Judah Warsky. Aunque Axel redimió el heraldo musical latinoamericano a lo largo de su obra, en Hombre de Piedra hizo especial énfasis en la universalidad. En este álbum irradia una banda de sonido caleidoscópica que oscila del lounge de cine clase B (Hombre de Piedra) al dubstep blusero de Invitame, al tiempo que saca provecho del aporte que le brindan sus músicos para consumar viejas deudas: con el psychobilly (Tiempo y tierra), el spaghetti western (Mosquito), la alegría balcánica (Changarín) o el funky disco (Lo tendré que adivinar). Cómplices de su militancia iconoclasta, Juan Ravioli, Ezequiel Cutaia, Diego Arcaute y Manuel Schaller acompañan a Axel en sus conciertos y giras. Junto a ellos y sostenido por Feco Escofet en los estudios MawiRoad, construyó en arduas sesiones de grabación el sonido de este Hombre de Piedra.

After having availed himself of the idiosyncratic mash-up, the cultural hybridity and the science of uncertainty to draft a unique sound, Axel Krygier releases Hombre de Piedra. Although it symbolizes a turning point in his career, it is hard to say it will be “definitive”, as the Argentine musician is a devotee to the work in progress. And he has prooved it in this album, in which he not only synthesizes his musical identikit but also adds new sounds and esthetics. However, some of them were already present in his former works, as his skills as singer and song-writer, which he has developed since the consolidation of a band that has become accomplice in his iconoclastic militancy. In contrast with his previous albums, in which the repertoire is close to a collage style, Hombre de Piedra is the first time that Axel composes his songs in a same artistic aim. This also coincided with his desire of bringing his reflection to the musical level, inspired by the French documentary Lascaux: Le Ciel des Premiers Hommes, about the role of human beings in the universe. This fifth studio work turned out to be a conceptual album, in which a bigfoot monster trips all over humanity (from pre-history to the 2.0 era) through songs featuring voices such as the French Judah Warsky and the renowned Argentinian Daniel Melingo. A herald of Latin American music throughout his work, in Hombre de Piedra he has now given special emphasis to universality. This album, tuned in with the imaginary which has inspired him, beams a kaleidoscopic soundtrack, swinging from the B movie lounge song which titles this album, to the bluesy dubstep (a mix-up as only he can conceive it) Invitame. At the same time, he finds his way relying on his band to satisfy old debts with rockabilly in Tiempo y Tierra, with spaghetti western in Mosquito, and even with his past, invoking dance in Lo tendré que adivinar or Balkan joy in Changarín. A fantastic, hilarious and essential road movie on the paradoxes of civilization.