Pre/Power Amplifiers

Plenty Of Juice
I was happy to headbang, but wanted to hear what this sledgehammer of an amplifier would do with something requiring delicacy and finesse. Juice Newton’s Greatest Hits (And More) [Capitol CDP7464892] can sound strident on some systems, as the bulk was recorded during the 1980s when digital was still inherently edgy and studio techniques favoured treble tweaking. But better DACs and players over the years proved otherwise, so her crystal-clear vocals remain a yardstick to challenge even Linda Ronstadt.

Here the Relentless 800 gave a first glimpse of the revolution in the D’Agostino sound. Without yielding any of the transparency or detail retrieval, the sound on ‘Break It To Me Gently’ exhibited – as its title demands – a gentility that would be too easy to liken to the artificial euphony of fat tubes. The only reason I wasn’t shocked by this is because I have been listening regularly to the MxV-updated Momentum 250 Stereo, so I was aware that in contrast to the meaning of the Relentless name, the power amplifier was actually forgiving of the Newton recording’s less savoury traits.

In the same collection is a track I have long used for its unbelievable attack, and it’s one that begs the unleashing of the system. Her version of ‘Queen Of Hearts’ has snappy redneck bass, stereo guitars crossing left and right, clapping, and all manner of activity. Above all of this are twin-vocalist harmonies in the best country pop manner. What could sound tonally like nothing more than glorified AM radio acquired what I can only describe as ‘humanity’. I’ve played this song many, many times, but never have I heard it with such scale, cohesion or – crucially – freedom from any digital artefacts.

Another of my all-time favourite vocalists is Mickey Thomas, ex-Jefferson Starship and Elvin Bishop Band, so I played his take on Squeeze’s ‘Tempted’ [Marauder; Gigatone GCD303]. When it comes to clarity and absence of textures (as opposed to those where the textures are the voice), Thomas has a wide range like Juice Newton, so it was valuable hearing the openness of the midband to discern the nuances. At a level that would have an exhibitor thrown out of a hi-fi show, each subtle voicing was conveyed with the kind of in-the-room veracity that makes the hairs stand up on your arms and neck.

Although the standing current of D’Agostino’s latest amplifiers has been increased, the temperature of this 145kg alloy/copper case rarely exceeds 40oC

The Wizardry Of Oz
For the obverse of these two clear-voiced warblers, I looked to Ozzy Osbourne, his masterful Under Cover [Epic 82876743142] showing exquisite taste in his versions of rock classics. Listening to ‘Mississippi Queen’, with its originator Leslie West providing a ferocious lead guitar break, Ozzy’s rasp demonstrated vividly that the ’800 was not even remotely saccharine, despite my ears telling me that it sounded as sweet as any massive solid-state amp I have ever heard – including the ‘original’ Relentless.

But there was more. Out came a vinyl copy of Led Zeppelin II [Atlantic SD 8236] with the famed Bob Ludwig cut. Within ten seconds of ‘Whole Lotta Love’, cranked up to 11, I experienced a rare audiophile epiphany. The mass, the slam, the scale, the presence: it was as close to real as it gets.

Hi-Fi News Verdict
‘Speechless’ is not a term often applied to me, but after hearing Bonham’s drumming at realistic levels, some 3m from the speakers, I was searching for superlatives. For sheer force and authority, the sibling Relentless 800 bears such similarity with the original Relentless monoblocks that I’m at a loss to justify needing more juice. Suffice it to say, Dan has done it again. This amplifier is a titan.

Sound Quality: 94%