... This is for the best. The knowledge there are kids holed up with their Playstations and PCs knocking out amazing new tunes that go BWARRRP GROINK KRASSH BUDOOM makes getting up the morning worth while. Mad electronic noise is no longer only the preserve of the serious-specs brigade. Like drum ‘n’ bass a decade ago, grime is cross-fertilising all over the place to produce new and, frankly startling, music.

Right near the top of the heap is Statik. Not only is his album ‘Connected’ one of the best ever grime albums, with about a thousand great MCs riding some out-and-out deranged noises, but he clearly knows how to thrash a shiny new bum-hole for rock bands too. Bloc Party should hang their heads in shame that they didn’t include his super-spooked-out mix of ‘Positive Tension’ on their recent remix album. Happily you can hear it at here.

Statik’s also turned in a high-velocity remix of Test Icicles’ ‘Boa Vs Python’, which features Lethal Bizzle and his Fire Camp (who are, incidentally, not very camp at all. Or, indeed, on fire). On another track, Statik raps instead of remixing, while Icicles’ mate Jitset adds a cracking electro angle to ‘Catch It’, the scratchy guitars working just fine with the wobbly bass and the distorted original vocals weaving into the rapping to make a fantastically paranoid racket. Maddest of all, Statik is about to go into the studio with Roll Deep’s Wiley and Eddie from bluegrass punk newcomers Larrikin Love. Yes – bluegrass grime. Remember where you etcetc.

On the recent Icicles / Lethal tour, Mr B has been delivering a cover version of The Rakes’ ‘22 Grand Job’ which, it’s been claimed, has sent the yoot ‘batshit crazy’. Like all the best covers, Bizzle has completely re-wired the song, so rather than being a complaint about dead-end office jobs, it’s an irrepressible turbo-boosted ‘GIMME THE MONEEEEEEY’ rant. Test Icicles have also turned in a remix of Lethal B’s single ‘Fire’, and just to make things really confusing, their version is actually more grime than his original which is actually (whisper it) a bit cheesy.

Wonky confessional art-rock blokes in mascara might not be the most likely candidates to have booming from your car as you are ‘shotting on road’ – that’s ‘shotting’ – but even Art Brut have been given a British bass makeover. OK, Why? Lout are strictly speaking hip-hop rather than grime, but their re-wiring of Art Brut’s 'Emily Kane' into a rap story of obsession has plenty of the spiky rawness of grime to it. You can hear it and get their spanking mixtape which contains it here.

Meanwhile on the fringes of grime, some of the more techno and dub-influenced producers have started swiping chunks of alternative rock all by themselves. Croydon dubstep producer Kode 9 did a completely off-kilter speaker-blowing version of Prince’s ‘Sign O' The Times’ last year, with no drums, just a humongous bassline and someone muttering the lyrics in patois.

Now he’s done the same thing with The Specials’ ‘Ghost Town’ to deeply scary-in-a-good-way effect. Meanwhile Scottish electronic maverick Neil Landstrumm has done a fearsomely noisy techno-grime take on the Happy Mondays' ‘Hallelujah’ and promises something similar with a Joy Division track shortly.

What we like about all this – apart from the fantastic noise you get when you mix rock guitars with BWARRRP GROINK KRASSH BUDOOM noises – is the fact that it’s a potent reminder that music dies in segregation. Grime at its best is about so much more than just a bunch of angry hoody-wearers shouting, and indie rock doesn’t just have to be white boys endlessly recycling post-punk riffs. When the two get together, it seems it brings out the best in both, so we say MORE OF THIS SORT OF THING.

Let’s hear Dizzee Rascal (a self-confessed Iron Maiden and Sex Pistols fan) yelping along with Towers Of London. Producer Jammer, who’s just done an amazing remix for Roots Manuva, should be doing the same for, say, Hard-Fi. And we’re sure a massive Wiley bassline would improve the average Keane song no end. Hooray then, for the sound that absolutely nobody is calling grime-indie or, god help us, ‘grindie’.