The first is dominated by the reputation-forming title track, which is worth the money all by itself. It's ground-breaking synthesized proto-house, in the mould of Georgio Morodor's classic productions for Donna Summer - more machine-like than the standard disco template of Philly soul strings and four-on-the-floor beat, but more human than Kraftwerk. It's a fantastic groove. Fun fact: the eco-aware lyrics were by Lena Lovich!
The following two tracks, "Sweet Drums" and "In The Smoke" (sometimes included as part of the "extended version" of "Supernature") both remind me of Jean-Michel Jarre's Oxygène (from the same year and country as Cerrone); analogue synthesis in excelsis. It all sounds futuristic and surprisingly undated.
The second half is very different, being much more typical disco in the Salsoul vein; strings, prominent bass groove, female chorus, songs about love. Fun in a cheesy way (it's very well executed, and I do love disco), but it puts me strangely in mind of half-remembered Seaside Special performances, particularly "Love Is Here".