On Synesthesia, the duo combines elements of Miles Davis' Bitches Brew-era fusion with a futuristic, technological sensibility that could only come out of Chicago.

... Synesthesia brings out the brilliance of Taylor and Mazurek's sparse instrumentation as, for the most part, they use only a cornet, a keyboard, and drums to weave their plaintive and complex compositions.

With Synesthesia, the Chicago Underground Duo provides a strong link between experimental avant-garde jazz and jazz-flecked electronic music.

[3] Pitchfork's Mat LeMay called it "a thoroughly enjoyable record, at times reaching even beyond that" but noted "Unfortunately, Mazurek's electronic wizardry doesn't always couple well with Taylor's more traditional free jazz stylings" conceding that "The more adventurous passages obviously spring from the able mind of Mazurek, whereas Taylor's portion consists of extended forays into free jazz, complete with wanky drum solos ... For a record with such startling and emphatic dynamics changes, the better portions of Synesthesia are remarkably smooth ... Mazurek seems to be chipping away at band members and, in doing so, bringing his own unique brand of genre-twisting, rock-influenced electronic jazz into focus.

[5] In JazzTimes Christopher Porter noted "While the CD features some unique soundscapes, and its appeal increases immensely with repeated listens, it’s one of the lesser titles in the group’s ever-expanding catalog ... Synesthesia’s vibe is more of a studio-composed experiment that relies on overdubs and the layering of Taylor’s vibraphones and Mazurek’s electronically manipulated cornet and keyboard squiggles to make its bed of sound, which often recalls Miles Davis during the abstract-ambient parts of Get Up with It".