m25 Founders series: Beyond the beat with Eclectic’s journey from the UK to Asian markets
m25’s Founders Series celebrates the real people behind productions. This episode focuses on three key members of Eclectic Music, Simon Elms, Colin Smith, and Carley Reynolds, who together have sculpted and produced a generation of commercial music.
From Super Bowl spots to Emmy‑winning documentaries and global campaigns like SK‑II’s Beauty is No Competition, Eclectic Music’s have helped brands use music to tell stories. Now, as Eclectic expands into Asia, they bring with them a legacy of sound, deep artist relationships, and a uniquely British edge that continues to resonate on the global stage.
Eclectic is an award‑winning music production company with a client list that includes some of the world’s most exciting brands. Can you take us back to the very beginning, what inspired you to start the company in the UK, and what was your vision at the time? Looking back, what were the biggest highs and lows in those early years, and how did they shape the company’s identity?
SIMON: Well, before Eclectic came along, the two of us, Smith & Elms (Colin and Simon) had spent a good 15 years under the wing of a rather major international music production company. It was a fantastic ride, plenty of awards, big-name clients who kept coming back for more, even a Super Bowl spot or two. Not too shabby, really. After a while, we decided we fancied steering our own ship. So, Eclectic was born, fuelled by equal parts excitement, and terror..
CARLEY: Since I joined the team the highs have been pretty spectacular, to be honest. We’ve built brilliant relationships directly with some incredible clients Ford, SK-II, Coke and Ridley Scott Associates, to name a few. There’s something special about working so closely with people who share the same creative spark. And of course, picking up awards along the way never hurts, most recently an Emmy for Bolshoi Babylon and a Grierson for the feature documentary My Name is Happy, where we looked after the full audio – composition, sound design and mix.
As for the lows, well, “lows” might be a bit strong. The industry’s shifted massively over the years, and keeping up sometimes feels like trying to catch a moving train with a guitar case in hand. But we’ve always prided ourselves on staying ahead of the curve (or at least clinging to it stylishly) adapting, evolving, and still loving every mad minute of it.
How would you describe Eclectic’s signature approach to music composition and production, and how has it evolved since your UK beginnings?
SIMON: For us, it’s all about the talent and the detail. Being composers who run our own music production company makes a world of difference. We approach every project with that slightly obsessive, forensic focus only musicians can have. It means we can be nimble, intuitive, and properly tuned in to what the creative team needs. It’s where the alchemy happens, that little spark where everything suddenly comes to life.
For directors and creatives, it’s a completely different experience. They’re not just talking to producers; they’re working directly with musicians who genuinely get the idea and know exactly how to take it up a notch but when they are talking to our producers, they’re in the best possible hands. Every one of them has been hand-picked to share our obsession with detail and our love of music. They’re part of the Eclectic family because they just get it.
The UK’s been a musical powerhouse for decades, and we’re proud products of that wonderfully noisy tradition. We’ve been in the middle of this creative mosh pit since we were practically in nappies surrounded by orchestras, bands, big bands, endless studio sessions, composing, arranging… you name it. All of that seeps into what we do. It’s in our DNA the energy, the eclecticism, the love of a great tune and a bit of bold experimentation.’
Is there one project in Eclectic’s history that stands out for its complexity, creative ambition, or impact on your reputation?
CARLEY: One project that really stands out both for its sheer scale and creative ambition has to be the SK-II ‘Beauty is No Competition’ campaign. It was absolutely massive. In the first six months alone, it clocked up a casual 1.6 billion views. Not too bad for a day’s work.
Back in 2019, WPP decided to hand-pick a crack team of creatives, planners, and producers from across Europe and North America. They called it the Black Ops Team which, frankly, made us feel like we’d been drafted into a secret mission rather than your average ad campaign. The idea was to operate outside the usual agency red tape: move fast, think big, make real impact. Their first mission? Create something extraordinary for P&G’s SK-II brand.
The result was #NOCOMPETITION, a bold campaign that challenged toxic beauty standards, especially within the world of sport. Featuring powerhouse athletes like Simone Biles, it championed women defining beauty on their own terms.
The scope of the project was mind-boggling. Six six-minute films – part live action, part animation, six Olympic legends, three production companies, four directors, one American soul superstar (John Legend), one brilliant Chinese singer-rapper (Lexie Liu), three original scores, two arrangements, three Hololens AR experiences, countless trailers, and a campaign mnemonic to tie it all together. Oh, and one music house handling the lot …. Us.
It was a brilliantly complex operation, every element carefully coordinated, every detail finely tuned, and somehow we kept everything moving seamlessly while the music soared. The end result? A global smash with 1.6 billion hits and a 98.5% approval rating.
How has building a career and business in the UK music industry prepared you for working with international brands and creative agencies?
SIMON: We’ve been working on the international stage pretty much our entire careers.
Our edge, if we had to boil it down, is really twofold. First, we have a knack for opening doors. Because we’re composers and musicians ourselves, we’ve rubbed shoulders with Hollywood A-listers, top record producers, and artists for decades. They trust us and that trust means we can bring some serious talent into the fold.
COLIN: I have been working directly with bands and artists for years. I have worked with The Shapeshifters for over a decade now and have recently worked with Rag N Bone Man, Joss Stone and Billy Porter to name a few, with Eclectic, I am eager to bring these relationships and skills to the Asian market.
SIMON: Second, it’s the quality of the work we produce. Composers, like a good cheese or fine whisky, tend to improve with age. Our heritage, all those years spent honing our craft is a major part of what makes us stand out. It’s not just experience; it’s a legacy of sound that brings something genuinely special to every project.
When it comes to breaking into the Asian market, we believe this blend of deep-rooted expertise and international savvy gives us a unique edge, a bit like a classic British blend with a modern twist.
From your perspective, how has the UK music production landscape changed over the past 2 decades, creatively, technologically, and commercially?
CARLEY: The UK has always been a global leader when it comes to production, and thanks to advances in technology, both in what it can do and in its affordability, the scene has broadened massively. Now, incredibly talented and original artists can produce top-notch music from their bedrooms, which is pretty remarkable when you think about it. Cloud-based production has also opened up whole new ways to collaborate with musicians across the globe, making truly international projects much easier to pull off.
That said, the UK is still a go-to place for scoring films, largely because of the world-class musicians and studio spaces available here. Everything has become more flexible, giving more people the chance to get involved and create original, high-quality music. It’s a really exciting time, the industry is bigger, more open, and more inventive than ever, while still holding onto that trademark British craftsmanship that keeps people coming back.
With AI, digital tools, and new production technologies transforming the creative process, how is Eclectic integrating these innovations into its workflow?
SIMON: Composers have actually been grappling with “AI” in one form or another since the mid-1980s, when Akai released their first sampler, the S900. Technology has always had this dual personality: on one hand, it democratises the industry, suddenly, anyone can make sounds that almost pass for music. On the other hand, in the right hands, it can elevate composition and production to levels of detail and wonder that were previously unimaginable. We’re absolutely on top of this new wave of tech and are constantly experimenting with it.
That said, there’s a very big but. We pride ourselves on understanding the legal intricacies of music in a commercial context, and we’re very aware that AI music is going to attract a tidal wave of lawyers all claiming ownership of AI-generated voices and compositions. The technology itself is incredible but it’s only as good as how you interpret, translate, and rework it. In other words: handle with care. That’s the balance we aim for, blending technological efficiency with the artistry, nuance, and emotional depth that define everything we do.
What advice would you give to the next generation of emerging composers, producers, and creative entrepreneurs both in the UK and Asia who want to learn and establish themselves in the commercial music industry?
COLIN: The one standout thing about the music industry which is equal parts inspiring and, well, occasionally a little depressing is just how many geniuses there are out there. Honestly, we’d never presume to tell young composers exactly what to do. The best thing we can do is encourage them to work with grown-ups, people who will genuinely appreciate their talent, nurture it, and help point them in the right direction.
Companies like us have a sort of duty of care to the next generation. We’re always happy to listen, chat, and offer advice to artists, composers, and acts trying to find their feet. If we can help someone avoid a few pitfalls, or open a door they didn’t even know existed, then that feels like a small but meaningful part of our job.’
As you expand Eclectic’s presence in Asia, what trends, market movements, or new ways of working do you foresee shaping the industry in 2026-2027?
SIMON: As we look ahead to expanding Eclectic in Asia, we see a number of exciting trends shaping the industry over the next couple of years. The appetite for high-quality, cinematic, and emotionally resonant music is only going to grow, alongside the increasing integration of digital tools, AI-assisted production, and immersive experiences like AR and VR. Markets are moving faster than ever, and brands are looking for music that doesn’t just sound great, but tells a story, connects emotionally, and works seamlessly across multiple platforms.
We’re positioning Eclectic to lead both creatively and commercially by combining our heritage of craft and musical excellence with an agile, forward-thinking approach. Our focus is on collaboration with local talent, international artists, and the best creative minds, while staying ahead of technological and cultural trends. Essentially, it’s about blending deep-rooted expertise with innovation, so we can deliver music that’s not only world-class but also perfectly tailored to the rapidly evolving Asian market.