From 
Azawan:
"In the field of Amazigh           (Berber) music, the experience of the group Izenzarn presents certain           characteristics. The emergence of this group occurred in the general           context of the social changes in the post-colonial Morocco. The emigration           (rural migration in the Moroccan sociological terminology) became an           irreversible phenomenon. The rural society settles in the town and is           confronted at the same time with the violent process of integration           and assimilation and with the social problems resulting from the arbitrary           management of country by the makhzenian Mafia. This situation requires           the invention of new forms of poetico-musical expressions (or the adaptation           of the old forms) to express at the same time the nostalgia of the origins           and the anger towards the abusive policies. Also, at this times, Anglo-Saxon           musical groups (such as the Beatles) as well as Moroccan groups (Nass           el Ghiwan, Jil Jilala, etc.) impose their rhythms and influence the           development of musical groups known as popular. Mixing modern and traditional           instruments, these groups interpret songs, inspired by the ancestral           tradition or expressing the current sensibilities of a generation coming           from the first wave of the rural emigrants.
Founded at the end of the Sixties by a group of young           people from newly urbanized families, Izenzarn is among the first Amazigh           groups to modernize and radicalize the Amazigh song. After tribulations           under different names, a first album is recorded in the year 1974. Thus           starts the first season of the group, characterized by love songs such           as: Wad ittemuddun (traveler), Wa zzin (Oh! beauty), etc,           or nostalgic and traditional songs: Immi Henna (My gracious mother)...           In the beginning of the Eighties, Izenzarn embraces more protesting           themes: ttuzzalt (dagger), ttâbla (plate), tamurghi           (grasshoppers)...
The protest in Izenzarn's songs is characterized by           the challenge of the dominant speeches: 
Iggut lebrîh idrus may sellan igh islêh
Plenty of speeches And yet Nobody listens to the reason
and the harsh description of the reality:
Nettghwi zun d teghwi tmmurghi gh igenwan ikk d lhif akal
We are like grasshoppers taken between the skies and the dry grounds.
This reality is a world of fear, oppression and torture           [tawda gh will ugharas (fear in the paths), izîtti wuzzal           (iron bars), ur nemmut ur nsul (neither alive nor dead)] 
The success of the group is due to its strange musical           style and the poetry of its songs that presented already at the end           of the Seventies the germs of a revolution in the modern Berber poetic           creation. 
After a disagreement, the group had split. Two groups           dispute the name: Izenzarn Iggut Abdelhadi and Izenzarn Shamkh. But,           it is the first one that imposed itself due to the emblematic image           of its main singer, Iggut Abdelhadi."
Here's another 90 minutes of Izenzaren's amazing Amazigh music.