The original lineup of members consisted of Saúl Hernández (vocals and guitar), Sabo Romo (bass), Alfonso André (drums) and Diego Herrera (keyboards, saxophone).

Adrian Belew produced their third studio album, El Silencio, and made a guest appearance on the track Piedra.

As the seriousness of the project grew the band began to play in different venues in Mexico City like Rockotitlán, High Tower and El Jabalí.

Saúl and Alfonso reformed as Caifanes with the bass guitar player/producer Sabo Romo and Diego Herrera on keyboards and saxophone.

By late 1987, Caifanes had carved a niche for themselves as a dark contrast to the corporate pop/rock and light ballads that dominated Mexican radio and television during the 1980s.

The demo was showcased on the independent radio program Espacio 59 (Space 59), a show that promoted up-and-coming rock bands.

At the time, Caifanes' sound and look was influenced by British post-punk groups such as The Cure and The Jesus and Mary Chain.

Caifanes received a big break when Ariola records invited them to open for the Argentinean rocker Miguel Mateos' Mexico City show.

In June, Caifanes played two sold-out shows at the National Auditorium, a 10,000 person venue—a first for a Mexican rock band.

Recorded in Wisconsin and produced by Adrian Belew of King Crimson, El Silencio had a more direct guitar driven sound.

"No Dejes Que" (Don't Let It), "Estas Dormida" (You're Sleeping), "Debajo de Tu Piel" (Under Your Skin), and the soaring "Nubes" (Clouds) went on to become Mexican rock staples.

The influence of Belew, who also played guitar on the album, was felt strongest in "Hasta Morir" (Until Death), "Tortuga" (Turtle) and "Vamos a Hacer un Silencio" (Let's Make a Silence).

In 1993, Caifanes became the first Mexican rock group to sell out Palacio de los Deportes in Mexico City.

El nervio del volcán (The Volcano's Nerve, 1994, released by BMG, showed Caifanes with a heavier, more progressive sound.

They were a staple on Latin MTV, Rock en Español radio and appeared regularly at music festivals.

In 1994, Caifanes opened for the Rolling Stones in Mexico City and participated in Peter Gabriel's WOMAD festival.

It was extremely unusual for a Mexican band at the time to wear make-up, dress in black, and have disheveled hair.

The presence of Caifanes and the media coverage forced record companies to take existing groups seriously as well as to revitalize veteran rock figures who had long careers behind them, such as El Tri.

Fobia gives enormous credit to the influence of Caifanes on their music -Hernandez collaborated in the production of the demos "Puedo Rascarme Solo", "La Iguana" and "Moscas" for a television show.