The new full-length seems to satisfy the most disaparate fans, with its successful blend of heaviness, fuzziness, acid melodies, all able to drag the listener on a journey that will not be forgotten soon and outdo the recent recordings.

Detailed and refined is the digital artwork from tattoo artist and drawer Sara Koncilja, whereas the layout is by The Speed of Light.

The front cover of the booklet contains a background that has nuances of blue, grey and green; there are also golden spots at the sides and brown spots at the centre. At the centre is also a mithological creature (a harpy or a sirin) with a woman's body, head and trunk. Its legs and arms are missing, replaced by bird's claws. It is portrayed above on the front, while below from the back.
A few millimetres below we find the band's monicker and the title of the album typed very small with an art nouveau style.

The two inner pages depict a similar artwork, with white pearls forming lines, spirals or just spread around in order to deliver elegance to every subject contained. Every drawn subject is, in turn, referred to a lyric shown at its side with the title of the corresponding track.
The subjects found here are then:

• 2 dragonflies.
• the face of a girl who's deep into reading a book from which more bright pearls are being released.
• a glass reflecting an eye or a stone which an eye is drawn upon; the eye is getting shattered, getting jumbled up with further shining pearls.
• 2 faces divided by lightning from which bright pearls depart.
• 2 hands that are emanating a magical force in the shape of a spiral, along with pearls and flowers losing their petals.

On the fourth page we can see the line-up and more info typed with the already met Art Nouveau/Liberty type.

On the back of the case artwork we meet the same background seen earlier, together with the tracklist. At the sides we see the artwork for the composition "Goldmine", which is 2 dragonflies for each side.
Down below is the label's logo, with the number of the release and the recording company's postal address.

Under the transparent case holding the disc appears the front cover artwork again, but this time titleless.

The printed side of the CD is separated in 2 slices, the former green/blue/grey with the label's logo and the latter is black showing the band's logo, the title of this album and the tracklist in white with a different type.


As you can understand the spiral is an important symbol for the band, because it appears everywhere in nature, both in a microcosm and in a macrocosm, and also because it represents harmony and the geometrical pattern trees, animals, galaxies, etc. grow and spread.
Probably Stefan Koglek and the other musicians wanted to emphasize the patterns that their music follows, as if their tunes were a transposition of the pi.

• the destruction of nature, greed, war instead of peace and heaven on earth.
• peace, brotherhood.
  
• the absurd importance given to our lives in social media, and the increased isolation caused by these unreal lives.
  
• the lack of faith in the Bible, seen as a book of invented stories.
  
• an invitation to harmony with the other human beings and the thriving nature, since we are as one.
  

In order to approach the listener gradually, the chosen opener is "Turquoise", an instrumental piece lasting over 6 minutes. It starts placidly, with a guitar evoking the moonlight, then a flute is added distant because of the low mixing. When bass and drums enter, there's also room for an electric piano which abundantly fills the soundscape in. Suddenly the drumming turns jazzy, and after that the track flares up along with psychedelic keys in the background. A more aggressive part on the trail of Kyuss is ensued by an acoustic break, and later on the guitar embarks on a long solo, whereas the bass goes on its own way until the final guitar stroke is substituted by a synth briefly.

A pure slab of Stoner and Space Rock influenced by certain Motorpsycho. "Goldmine" begins without a pause with a deafening, deserticolous riff obsessively repeated and delicate vocals that somehow remind me of Eric Clapton's. Agreeable is the central guitar solo, which a synth is added on, propagating in every direction. Afterwards, the guitar gives a series of licks as a present, as if it were jamming with White Stripes, until it's time for the initial riff to resurface, followed by a verse containing gentle vocals one more time.
I find the dynamic closure quite enjoyable, with skinbeater Manfred busy in refined manouvres on the cymbals and finally in an abrupt ending.

The bizarrely titled "Ideologigi" is clocked at about 9 minutes. The beginning contributes soft synth sounds, almost subaqueous. A while later a slightly distorted guitar like the sun pops in and quickly halts and the previous strange sounds come back, anticipating a hypnotic and repetitive riff evolves over screeching, abrasive synths.
A groovy break with heavily distorted guitar sounds leads us in an elaborate manner to a more controlled part, at last sung. In the next minutes there are however several experimental 70's-oriented instrumental structures sustained by pachydermatous bass lines standing out all the rest, while guitar and drums work in partnership in an enwrapping crescendo made of multiple highs and lows, speed-ups and syncopated fragments. Time for an intermezzo between King's X, Queens Of The Stone Age and The Doors to stun the listener before the drumming holds the spotlight. And when the guitarist derails in a long shrieking solo rubbing our memory to the unrepeatable magic of the Woodstock Festival days, it's not long until the 2 opening riffs are repeated and a set of synthesizer loops is faded out.

The start of "Avatar" requires space synths, then the bass arrives with a stubborn riff and polite vocals. The powerful rhythmic section kicks in the door and we're rapidly thrown on a Hard Rock melody dear to Blue Cheer's fans. Amazing is the array of following riffs, coming before a riff stolen from the score of a snake-charmer. Another twist in the musical plot and the vocals reappear, in unison with light bass and guitar strokes. Soon, the finest riff of the album makes another cameo to conclude the composition, decidedly the highlight of "Sacred".

Far-away bagpipes introduce "1.5 Degrees", swiftly replaced by an acoustic guitar twice in an instrumental composition likely dedicated to global warming. The loud ticking of the hands of a clock beats the passing of time with the addition of indistinct trembling sounds, till a Noise Rock mighty guitar arrives - also producing some squealing - so as to increase an engulfing sense of anxiety, before long deafening us all with an unexpected obsessive riff.

7 minutes commenced by a guitar in the vein of the old Pink Floyd, successively making a jam with an otherworldly synth constitute the early moments of "See the Fools". For a few seconds later Jethro Tull-like vocals are used, preceding the entrance of bass and drums, while the guitar grows and invades the sonic space by catching the attention with a lengthy solo. A heavy drumming sets in, and it recurs to a pair of memorable pauses. Things change when the synth breaks in with angelic sounds, just a few instants before Koglek's voice comeback. After a jazzy passage, there's an alternation between elegant and gritty, yet hoarse vocals during an intense frame where the drumwork and the guitarwork are in the spotlight; once in a while a piano comes up so as to create touches in the sonic landscape. The guitar alone closes the song in a sober and relaxed way.

"In All You Are" utilizes a riff that sits halfway between Kyuss and traditional Hard Rock in the first part. The speed of this song is faster, and the vocal duties seem to be more energetic, more spirited, but they were mixed pretty low, so the vocalist has to sing with a great effort, which ends with a raucous voice, helped by overdubbed vocals (probably female ones).
The composition then entwines guitar and piano fugues with a really intense Prog Rock climax before turning quiet and later on climaxing again with some classic Prog and Hard Rock that declare war to our eardrums. The next phase contemplates long tasty axe solos, waiting for the vocals to return. Actually, they could've been better, as Koglek's voice suffers from occasional dips here and there.
The intensity rises with some bass lines which take no prisoners and finally with a riff and a last guitar stroke, long and faded away.

I own a normal CD copy, nothing makes it rarer or more valuable.