Reinbert de Leeuw: Der nächtliche Wanderer / Abschied; Sandrine Piau: Reflet; Prokofiev: Symphony 5; Tchaikovsky: Symphony No.4; Robert Schumann: Piano Quartet & Quintet.

Chien Chien Lu: Built In System; Mareike Wiening: Reveal; Billy Mohler: Ultraviolet; Ambrose Akinmusire: Owl Song.

Social Distortion: Mommy's Little Monster, 40th Anniversary Edition; Mötley Crüe: Shout at the Devil 40th Anniversary Edition; The Allman Brothers Band: Bear's Sonic Journals: Allman Brothers Band Fillmore East February 1970.

When I reviewed Luxman's L-509X flagship integrated amplifier, in May 2018, that sleek machine shook me to my vitals. I wrote, "Record after record, the L-509X illuminated every important aspect and area of the recording. It lived and breathed in the air around the notes, consistently creating big, solid, spatially natural images that presented me with a) the roundness and complexity of each instrument, b) a holistic sense of the musicians' intent, c) excellent touch and texture and impact, and d) a unified whole, regardless of musical style or dynamic level." I concluded, "the Luxman L-509X integrated amplifier takes a different path to musical involvement. The L-509X is one of the most intimate-sounding, dynamic, texturally nuanced, truthful purveyors of music of my experience."

Luxman's new flagship integrated, the L-509Z, has the same thick aluminum top plate and steel casework as its forebear and weighs a similarly knee-crushing 64lb. The older L-509X cost $9495; its newer, younger sibling rachets that up to $12,495. The front-panel controls are nearly identical, including those big, eye-catching dual VU meters; except for a new 4.4mm Pentaconn five-conductor mini headphone jack and a mute button, the Z matches the cosmetics of the X to a T. But as in all things, appearances can be deceiving.