Originally released in November 2005, Stefan Goldmann's Blood EP marks a watershed moment in his catalogue. His earlier works - from Missing Days to Shimmer - offered different sampling-centered takes on resolutely condensed house music. By contrast, the three tracks on Blood were markedly synthetic, combining a nostalgia-free sound formulation with an intricate sense of space and elements that pointed outside the prevailing sound design consensus of post-millennium dance music. Both - space and the exploration of techno's implications beyond its immediate boundaries - would become central themes in Goldmann's later work.

On the technological side, what was new here was the acquisition of Lexicon's 300 reverberator and the use of Propellerhead's ReCycle software, paired with synthesis drawn from such obscure sources as the TC Electronic Fireworx and Waldorf Microwave II. It was also the first Goldmann record to be mastered by Rashad Becker - a collaboration that continues to this day.

At the time, Blood opened doors into the techno world and to Berlin's Berghain club, where Goldmann made his debut behind the decks at the release event for this record. Blood didn't spark the same frenzy and across-the-board adoption that his next release, Sleepy Hollow, would see one year later. However, the two records are closely related and jointly established the path that eventually led to what would become the Macro label. In his review for Pitchfork, Philip Sherburne described Blood as "one of the best singles in Perlon's entire catalog. Appropriately, no one else has a sound quite like his either."

For the first time, this reissue includes a fourth track that was originally envisioned as part of the release but omitted at the time. Dia, like Last Wave, is a sparse, minimalist track built around the same formant-shifting synthesis patch later employed on Antisyntax from the 2008 album Voices of the Dead.