Aṭṭas i s-yennan x New Soulful | #amazighmusic #djbilly #kabylegroove

Matoub Lounès, born in Kabylie (Algeria) in 1956, became much more than a singer: a poet-musician, a voice of the Amazigh (Berber) movement, a thorn for the authorities and a beacon for cultural identity. The song “Aṭṭas i s-yennan” (which translates roughly to “Many have said…” or “What many have said”) stands out in his repertoire as a pointed critique of power, collaboration, betrayal, and the challenges of identity and integrity.

In the lyrics you’ll find lines like:

tḥemmel-aɣ lḥukuma
S ikumyan i ɣ-d-tettawaḍ
Tḥemmel-aɣ mačči d kra
Tekreh kan m' a d-nεeggeḍ

Here, Matoub doesn’t hide his sarcasm or anger — he’s exposing what he sees: the betrayal of ideals, the co-optation of a people, the grinding of cultural truth beneath the weight of politics and patronage. The song isn’t purely about culture for culture’s sake—it’s about how culture, power, identity and corruption drag into each other.

As for history: The song was released during a period when Matoub was deeply engaged in the politics of recognition: recognition of the Amazigh language and culture within the Algerian state, criticism of authoritarian rule, opposition to Islamism, and the skewing of freedom of expression. His fate — he was assassinated in 1998, shot while driving near his home — turned him into even more of a symbol. That context gives “Aṭṭas i s-yennan” extra layers: it’s not just a song, but part of a larger story of resistance, identity and tragedy.

Musically, Matoub blended Kabyle traditional forms with modern instrumentation, bringing poetry that could be danced to but also digested slowly. His voice is direct, urgent. In “Aṭṭas i s-yennan” the urgency is doubled: it’s personal, communal, political. It invites listeners to ask: who speaks for whom? Who sells out? Who sleeps while the house burns?

On the cultural front: For Kabyles and Amazigh people more broadly, Matoub’s songs are part of their memory. They serve as both soundtrack and sermon. Internationally, he remains somewhat niche outside the north africa, but among those who know, he’s a touchstone for how music can carry identity and dissent. The song also functions as a mirror: In collective culture, we see in it questions about authenticity, co-optation, and who profits from identity. Your local politics might differ, but the dynamics are familiar: voice vs silence, truth vs complicity.

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#AfricanFolkRock

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Discover the spirit of Tamazight through music!
Each song in this playlist is fully subtitled in English, French, Arabic, and Spanish — bringing the beauty of Amazigh culture and poetry to everyone around the world.

Watch now and feel the rhythm of identity:
???? https://youtube.com/playlist?list=PLrk7-09RQyStkgZnXGJp3K9gxfDZml9l5&si=MT_8nbXg3vTLrkA2

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DJ Billy, Tamazight Music, Amazigh Music, Berber Music, Algerian Music, North African Music, Rock Blues Fusion, Desert Blues, Tuareg Assouf, Kabyle Groove, Rai Trap Remix, Deep House, Sahara Vibes, Electric Guitar Riffs, Traditional meets Modern, Tamazight Lyrics, Amazigh Roots, Tribal Groove, Oriental Trap, Algerian Fusion