The album was preceded by the hit single, "Muevan las industrias", which featured the group drawing European techno influences from bands like Depeche Mode.

He and Miguel Tapia -as the band's guitarist Claudio Narea points out- had become followers of Depeche Mode and other groups that used the keyboard as their main instrument.

", "Pendiente fuerte de ti", "Ellos dicen no" and "Muevan las industrias" which made their debut in August of that year in a presentation at the Cariola Theater.

[6] The recording of the album began in the winter of June 1986 after Santiago was recovering from a storm that overflowed the Mapocho River.

[4] However Jorge had already played the keyboard for the previous album but as an accompaniment to the songs[9] and in Pancho Straub's studies a drum programmer was used.

The lyrics were the fantasy of an uninhabited industry, but with a lot of resonance from when they fired a lot of people in '82, in that economic downturn where Miguel's father also lost his job.Lalo Ibeas, leader of the group Chancho en Piedra, said that it was very risky "to have made their second album radically changing the sound of the band, going from guitars to The Clash style, to the sound of synthesizers, and yet they kept playing like Los Prisioneros.

[citation needed] Musicologist Juan Pablo González considers it the essential album and a turning point in the band's career.

[17] According to Colombia.com, in Chile "there was a feeling of disappointment and anxiety due to the unemployment rates caused by the clearing of the national industry to make room for British, North American and French companies that invested in the country's economy and They stayed with the markets.

[8] It tells about young people who were promised to go to university but, nevertheless, the neoliberal system left them with no chance of studying, leaving them practically unemployed for their future.

[17][8] "Estar solo" was described by González himself as a combination between The Cure and Depeche Mode that "didn't turn out very well" and described the lyrics as "half embarrassing", considering it one of the poorest songs on the album.

[22] In 1987, during a promotional tour in Buenos Aires, Argentina, the guitarist recounted in his book Los Prisioneros: Biografía de una amistad, that the album cover had a different photo.

[23] Later, in Chile, the photograph was also changed, then, when Pateando piedras came out on CD, the photo where Claudio was smiling came out, however, shortly after they replaced it again with the other one.

[23] The session at the Metro was in charge of Jorge Brantmayer, inspired by the techno "wave" that the band took with their publicized Casio synthesizers and Simmons de Tapia drums.

[21] The vinyl edition, which could only be purchased at Fusión, had a low-angle photo of the band on the back cover in front of a high-voltage tower, 40 kilometers south of Santiago, on the way to Rancagua.

[21] At first Jorge suggested to Carlos that the three of them appear in the photo in a huge green field, and that they could be seen walking in the distance, however, EMI rejected the idea, since, according to them, it was going to look like a Los Huasos Quincheros album.

[26] Two months after the release of their second album, in November 1986 they officially launched Pateando piedras, appearing at the Chile Stadium in front of some 11,000 people.

25, Jaime Bollolio from El Mercurio made an analysis of Chile today with the songs from Pateando piedras according to his order, from "Muevan las industrias" to "Independencia cultural", reaching contingent topics such as the student movement and HidroAysén.

"Quieren dinero" was the main theme of the Chilean soap opera Cómplices (2006), being interpreted by Rigo Vizcarra.