Disclosure’s power is putting a face outline onto other people’s faces, which doesn’t do much, but it’s pretty cool, I guess…

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[5.56]

Anthony Easton: This does sound a lot like “Suit and Tie” — if that is the case, it disappoints, because it leaves this space where a Nile Rodgers remix might make use of JT’s vocals. As the text is, it’s a bit anemic, which is disappointing for such a murderer’s row of musicians/producers.
[5]

Alfred Soto: Of course the licks are hot — what’d you expect? Doesn’t waste a second. As on last year’s Disclosure collaboration Smith sounds better when the mixing board fucks with his falsetto.
[6]

Daniel Montesinos-Donaghy: “Together” is a change of pace, a victory lap for a successful year. Settle sounded so tense for much of its running time that it’s pleasant to hear the Brothers Laurence avoid turning romance into mini-epics of misery or obsession. The levity suits them – it may be one of their chuckles that kicks off the track. It may be Rodgers, peeking through flickers of guitar glitterbombs. It could be Smith, the duo’s A N Other singer of choice. Anyway, it sure sounds like they’re having fun in there.
[7]

Scott Mildenhall: Nile Rodgers is clearly a very busy man, because 143 seconds is AATW levels of curtness. In truth it’s pitched just right; there aren’t too many ideas in here, and the ones that are needn’t go on any longer – what makes a short song feel average sized makes an average sized one seem to go on forever. With Disclosure bringing their globular glitches, Nile his guitar, and Sam Smith further proving his versatility, two minutes are quite enough to see where this is going.
[7]

Patrick St. Michel: Daft Punk did two great things in 2013. First, they helped out a lot on “On Sight.” Second, they brought Nile Rodgers back into the spotlight (and I mean the mainstream, the Tower Records near me proudly displays the best-of-Chic CDs near the front of the store now). The best part of “Get Lucky” is it finds Daft Punk acting more as curators, letting Rodgers (and a wisely picked Pharrell) do his thing without getting too much in the way. Rodgers barely stands out at all on “Together,” as does everyone else featured on the track…unless Jimmy Napes’ thing is sounding like one laid-back blur. Even Sam Smith’s voice gets glazed in effects, making him not sound like Sam Smith. Here’s four artists hoping to gain some cool points by piggybacking on one another. 
[4]

Crystal Leww: Everyone involved in this has done a lot better. Sam Smith’s voice is ill-suited to this kind of groove, his voice so pitched and warped and lacking in its usual warmth. Disclosure’s synths sound so devoid of humanity, the exact opposite of what got them to their current state of popularity. How disappointing.
[4]

Will Adams: What made Settle so engaging is that Disclosure avoided doing what that album’s title suggested. “Together” promises thrills — Sam Smith’s luscious voice; Nile Rodgers being wielded with care for once — but ends up sounding rushed; there’s a noticeable lack of dynamics in the production, and the song checks out after its second verse. It ticks the boxes adequately, but nothing more.
[6]

Brad Shoup: Summons a party just as easily — and much more quickly — than “Blurred Lines,” and without all those pesky attendant lawsuits and thinkpieces. I’m rewarding its brevity; I imagine another tilt at the chorus would have reached Zapp-ian levels of milking. Plus, I love it when the beat limps.
[7]

Katherine St Asaph: There comes a point when ’70s revivalism becomes Leisure Suit Larry schtick. Are these kids even old enough to get that?
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