More Patrick Forgas with the solo works after Cocktail (L'oeil 1990, Art D'echo 1993, Synchronicite 2002)

 

The first two albums continue along the same lines as the first with the falsetto singing on top of typically one chord tracks that develop in a light or playful manner, a bit Canterburyesque but much, much simpler.  That last one from 2002 is a complete all-out new age slow keyboard work, which is radically different from all the other albums and to me a bit uninteresting.

From 1990's L'oeil, Ze / Medley is a remarkable composition but the remainder, almost the whole of it, suffers from the tinny digital synths & 80s drum machine that afflicts so many works from this period in time:

1993's Art D'echo gets a lot more interesting and is sometimes quite crazy creative, consider Cache ta Paine (hide your pain, the de facto motto of all middle aged or older men):

As mentioned earlier, Synchronicite is a departure being mostly new agey keyboards and in fact, it's the only work from him in this style, eg Anima:

At times it sounds like the soundtrack to a video game, such as that for Tomb Raider.  Perhaps inspired by that one?

French Canterburylike / Gonglike drummer / composer Patrick Forgas with the 1977 Cocktail album to begin

 

His own discography is here. As you can see 4 albums on his own and 6 more under Forgas Band Phenomenon.

Profile: French prog rock and fusion drummer, singer, instrumentalist. Self-confessed Robert Wyatt devotee, and creator of a unique French twist on the Canterbury sound.

I think it's less Canterbury more Gong with the tendency to remain on one chord and then meander in a spacey manner on top with light sounds, eg breathy singing or flutes.  The title track of his masterpiece called Cocktail, whose hghlight though is the sidelong work My Trip, which reappeared multiple times, reworked, on later albums, and with a demo version on the later CD release with bonus tracks:

Demo version of My Trip is great listening:

In fact, utterly ironically the demo tracks that follow the composed work are the best part of this CD, perhaps because they were written when he was a young man, much more Canterbury like.

Fumitaka Anzai in his first work from 1982 [DIGITAL TRIP / Juma Densetsu Synthesizer Fantasy]

 

Absolutely a masterpiece of progressive electronic, like some of the Fukumachi stuff.  I don't think there's a bad track on this record.  Artist info here.  He went on to write an incredible number of anime, film score, manga, whatever soundtracks, but this is by far the best one, if you appreciate complex prog that is.  This is as great as anything that for ex. the more famous Patrick Moraz put out back then.

Soto H, track 6, is so unbelievably dramatic:

Track 4, Dasshutsu:

Markku Lievonen's 1977 album, FLAC limited time only

This is a very librarish album with beautiful progressive instrumental compositions, very vivid and interesting, original, and melodic.

From discogs, the briefest of bios:

A Finnish jazz musician. Born on February 16, 1947 in Lahti, Finland and died on December 14, 2016 in Helsinki, Finland. Started his career in the early 1960s by playing drums in a jazz trio. Later he played bass in several groups and as a studio musician. In 1977 he released a solo album.

For me it's quite brilliant and unfortunately forgotten, presumably except in Finland.  His use of different keyboard sounds is particularly worth hearing, as in Monster Rally:

For an entirely different emotional direction, the March for the Lonely Riders:

Norwegian Barock - Bare en Blaveis, from 1976 [ FLAC limited time only ]

 

I absolutely adore this one-off album.  Information here:

Progressive rockband from Stavanger, Norway. They released only one record, "Bare En Blåveis" in 1976 with Johnny Sareussen as producer. The band consisted of Magne Høyland, Anders Bru, Bjørn Aslaksen, Reidar Olsen, Sveinung Sand and Tommi Haukland.

The album had all the right ingredients for a real progrock album in the 70s; long, improvisational solos, multi-thematic compositions, performances of classical and folk, parties with electric violin and drum solos. The lyrics was both in Norwegian and English and some of them collected by the poets Oscar Wilde and Hans Børli.

The band dissolved in 1977. Anders Bru startet Stavangerensemblet. Mange Høyland appeared in both Asfalt (4) and Wasaband and Bjørn Aslaksen in Løgnaslaget and Ryfylke Visegruppe.

Surprisingly well said for once.  But the most important part about it, it's packed with wonderful songs and compositions, a lot of that typical Beatles or solo Beatles influence that you'd find in all the 70s pop stuff, but really well thought out, creative, original, as you can hear on the opener Mr. Music Man:

To You on the Bus is another beautiful song:

But the biggest masterpiece is the instrumental composition Impressions, which absolutely entrances me in its lovely E minor ideas which keep evolving and transcending any simplistic chord movements, beautifully played, beautifully written, a true gem, like Eef Albers' Blue Capricorn track: