Rock group Caifanes from Mexico are pioneers of the revival of Spanish-language rock (Rock en Español) in Mexico in the mid to late 1980s. Their musical approach clashed with the then dominating ballads and happy pop tunes that filled the radio and TV programs, in offering dark and moody lyrics.
In the beginning, it seemed that Caifanes was just a Spanish version of The Cure. This however would not turn out to be the style that they would follow. The inclusion of La Negra Tomasa in their self-titled album was unforeseen, as both Hernandez and Romo are both from a middle class background. After this first disc, Caifanes would not try to imitate another particular group's style, instead, it would incorporate elements of different music from Mexico's varied music scene onto their own songs.
In El Diablito, while most of the songs have a style that would be simply classified as rock, the lyrics themselves also change and start taking popular elements (such as the usage of the phrase De Noche Todos Los Gatos Son Pardos (At night, all the cats are brown) in the title of the song). In this disc we also see what would be the model for their songs in La Celula Que Explota (The Exploding Cell); poetic and demanding lyrics with music that runs in between rock and Mexican music. Alejandro Marcovich's presence in the group from this disc on becomes fundamental in the sound in such a way that for many fans, the difference between Caifanes and Jaguares is the style of the lead guitarist.
In El Diablito, while most of the songs have a style that would be simply classified as rock, the lyrics themselves also change and start taking popular elements (such as the usage of the phrase De Noche Todos Los Gatos Son Pardos (At night, all the cats are brown) in the title of the song). In this disc we also see what would be the model for their songs in La Celula Que Explota (The Exploding Cell); poetic and demanding lyrics with music that runs in between rock and Mexican music. Alejandro Marcovich's presence in the group from this disc on becomes fundamental in the sound in such a way that for many fans, the difference between Caifanes and Jaguares is the style of the lead guitarist.
La Celula Que Explota, a mix of a rock ballad and a mariachi, is the first of many songs that would blur the line between rock and Mexican music. In El Silencio, the fusion would follow a rhythm that is followed by people in Mexico's poorer parts. (Nubes (Clouds), Hasta Morir (Until Death), Para Que No Digas Que No Pienso En Ti (So That You Cant Say That I Don't Think About You). You also hear a bit of banda (Piedra- Stone), and even a version of Son Veracruzano in the song Mariquita, where the traditional Jaranas are mixed with Marcovich's guitar.
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