Supernature: Disco’s Sci-Fi Masterpiece

Released in 1977, Supernature is one of Marc Cerrone’s most iconic albums, blending pulsating synthesizers, orchestral elements, and his signature beats to create a futuristic, dark and cinematic sound. Influenced by electronic pioneers like Giorgio Moroder, the title track’s hypnotic rhythm and eerie flourishes made it a dance hit, proving that narrative-driven disco could captivate audiences. The song was written by Lena Lovitch and is like nothing else even on the same album.

It’s a weird one - and it’s fantastic. Check out Supernature here.

The track is unlike anything else in disco at the time and maybe even ever since, “Supernature” is perhaps Cerrone’s most famous work in a career spanning over 50 years, 25 albums, and countless collaborations.

 Supernature even stands apart on its own album: the other big tracks on it were Give Me Love and Love is Here. The tracks are total typical disco songs themes: love, good times, getting lucky… Not genetically engineered animal-human hybrids rebelling against their creators.

Dystopia at the Disco

The song tells a dark sci-fi tale of human overreach, of rebellion and ecological disaster: scientists, trying to solve food shortages, create genetically engineered creatures that revolt against their creators.

Robotic voices and dark instrumentals reinforce the idea of a mechanized future, a stark contrast to typical carefree disco themes of love, freedom, or endless dancing.

the horror disco genre

Cerrone’s syncopated drums create a sense of unease over an iconic and hypnotic synth lead on the ARP Odyssey (a rival to the Moog) balancing the off-kilter rhythm with mechanical precision to make a kind of eerie driving sound.

Supernature sold over 8 million copies and reached number one on US dance charts in 1978. Supernature may have even helped push electronic music into the realm of horror, alongside John Carpenter’s work, even though Mike Oldfield’s Tubular Bells had already introduced a somewhat danceable horror music.

Cerrone describes how the song was made - I love how he had to manipulate the production to get electronic devices of that era to make the sounds he wanted.

Vocals and writing

This lip-synced live version shows a different singer: Kay Garner was the original vocalist. As a studio and backup singer, Garner appeared on over 100 albums and likely many more without being credited. She also suffered with emphysema and had trouble climbing stairs, but you’d never know when the microphone was on.

I love doing some of these deep dives into music. I’d love to hear what you think.

Do you know any other truly weird songs in whatever genre? Lemme know.

The album was produced at Trident Studios in Soho, London. Co-written with Lene Lovich, then an emerging artist working in London at the time and known for her experimental style. Supernature was one of the first songs she ever penned.

A complete spectacle

Cerrone frequently incorporated dancers and visual performers to craft an immersive, theatrical experience. Here’s a live version that’s just (delightfully?) weird:

Cerrone and “La Clique,” an NYC dance group, performing “Supernature.”

For his 2005 Bastille Day concert at Palais Versailles in Paris, 400,000 people were there with over 2 billion people watching the live stream. Not the best vocals, but the video gives a good idea of the crowd.

For the closing ceremony of the 2024 Olympic Games in Paris, Cerrone performed with the French Republican Guard Band, and Rahim Redcar (worth an entry in the future) as lead vocalist.  

Cerrone’s disco has been a part of several national celebrations in France. Imagine the U.S. Marine Band jamming to disco classics with Nile Rodgers (of Chic), with a genderqueer lead singer – it seems less likely.

Incidentally, there’s a 1973 book called Supernature (which my wife is thrilled to have on our shelves) that explores unexplained natural phenomena, but it has no connection to Cerrone’s album.