Magma? What?!

I appreciate Magma's highly unique and innovative approach. Of course, we're mostly addressing Christian Vander for putting the heart, mind, soul, and direction for the band. But he's always found ready and willing participants to help him create that world.

If people can listen and appreciate all the weirdness, then they prove themselves as proggers. Most others just won't get it. Personally, I've put together one really good CD of their music as a compilation. So I don't think they have an extensively great music catalog, but that's just me. But their music is clearly not like any other.

It's fun to mess with people sometimes, whether at home or on the street. Crank up some Magma, and watch the expressions! WTH? Pure fun. People really need a dose of that a times. In this post-COVID world especially.

Nonetheless, an essential listen for prog fans. 

Sorry, my mistake. In fact, I realised that immediately after I posted, but, being new here, I didn't know how to revise it. I will try to figure out. Thank you.

Actually I really did listen to the rest of their albums and I made to Attahk, a fantastic album. 

Magma's music is distinguished by:

Huge Dynamics: Magma's music progresses from serene, eerily beautiful sections to powerful, edge-pushing times that test the skill of the gifted musicians.

American gospel and spiritual music, jazz great John Coltrane, classical minimalism, and classical composer Carl Orff are all influences on Christian Vander's compositions. Their music has an extra degree of mystery due to its distinctive, fictional Kobaïan language.

Science Fiction Storytelling: Vander wrote a science fiction scenario in which the band's songs recount the tale of humanity's ancestors living on Kobaïa, while hedonistic lifestyles on Earth bring about the planet's fate.

Magma's live shows are renowned for their ferocity, as Vander gives everything to the narrative and music. The band's enormous works and intricate compositions have had a lasting effect on the music landscape, inspiring other musicians around the world.

As a new fan on prog-rock, I start with the Rolling Stone list of the 50 greatest, and it plays Magma's MDK, which just blows my mind. My expectation of prog rock in 70s is that every prog muscian's music can find their traces back to King Crimson's debut album or the Nice however tightly or loosely (acually here's a mistake thanks to the reply of the post below), like being symphonic, lush keyboard playing, frantic guitar solo, concept albums, etc, but Magam's MDK seems to just reinvent prog really. Later online research proves this point as they are creators of Zeuhl, one of the subgenres of prog, which are inacessible to me at my first attempt on MDK. However, it just keeps making spells on me, entrancing me to have more trials though I reluctantly want to do and I do actually. And several weeks later, I find myself within the unspeakable love towards MDK. How can I imagine that I have to hear Magma every day but months ago I fell asleep when listening to MDK. Just like Daily Doug once said, " I am not sure I am a fan, but yet..." Now I can understand why he says it.

Ok, enough for the gibberish. Some specific questions are needed to be answered for me: 

1. Where does Magma come from? I mean Christian Vander's musical inspiration. As aforementioned, nearly all prog bands came after King Crimson, Zappa or much earlier prog pioneers like the Nice, Procol Harum, chose to contain their legacies. However, Vander just inherited the idea to mix Jazz with rock and suddenly came up with some music I can't literally tell. How did he do that?

2. Is there a paradox about their fictitious language, Kobaian? Wikipedia quotes Vander's view on his language, "French just wasn't expressive enough. Either for the story or for the sound of the music". Really? Does Kobaian help audience to understand the story? It baffles me a lot to see him claim an entirely inaccessible language (especially for a Chinese guy like me) can express the story. Actually, I can get the point of British music critic Ian MacDonald, who said that Kobaïan is "phonetic, not semantic", and that it is based on "sonorities, not on applied meanings", especially in their debut album Kobaia's title song "Kobaia" when language dramatically changes from English to Kobaian and the "mic" is switched to a roaring man speaking Kobaian. But, how is it possible to write stories, develop concept albums totally based on Jazz and the artificial language? And how it it possbile to expect audience to understand them? At least, I can't do it. 
3. May anybody tell me the story of every Magma albums? Or, just give me the links and I will check them out.