My grime round up in today's Metro

It's been a fantastic year for grime: Middle Britain has gone bonkers for Dizzee Rascal and embraced Tinchy Stryder, as both have topped the charts twice in 2009.

Moments such as Dizzee's smiling putdown of a huffy Kate Moss as she exited the GQ Awards last week (YouTube it) have only helped. And away from the heady heights of No.1, grime's next wave of pretenders is in training and focused.

P-Money is leader of the pack and polished mixtape Money Over Everyone (OGz) showcases his urgent, strident style. P-Money's bustling delivery and sharp tongue electrifies when astride dubstep (Left The Room) and, despite its ferocity, Fruits & Veg elicits a smile as the Lewisham MC deploys a greengrocer's stock (pears, plums, mangoes, broccoli) to slay wannabes and copycats.

The track 1 Up cleverly uses Super Mario in both sampling and lyrics, while Cash In My Pocket is a reworked version of Wiley's Mark Ronson-produced single that waxes lyrical on making, keeping, spending, saving and wasting P-Money's single favourite thing.

Little Dee also hails from London's 'blue borough' of Lewisham and is similarly highly regarded: he's featured on Terror Danjah, Roll Deep and Wiley's albums. Little Dee himself seems different – the opening of his collection Once In A Blue (Eskibeat) is melancholy, his enunciation is clear, with an icy, menacing feel.

His reference points and wordplay shine, too – he spits about avoiding the taxman, interchanges 'dough' (money) with 'doe' (though), and subtly suggests rather than beating his chest ('They say the good die young/so I'll die old').

Proper songs with hooks verses and choruses abound and Little Dee handles a variety of backdrops (rock, pop, electro) with an assured swagger. Little Dee might just live up to his claim to be 'the best thing to come out of Lewisham since Ian Wright'.

DJ Magic, co-promoter/resident at Dirty Canvas and co-founder of the No Hats No Hoods label, captures the white-hot intensity of a grime rave on No Hats No Hoods 1.

Frisco sets the blistering pace and shouts out to his heroes (Stevie Hyper, Shabba, Bounty Killer) as well as er, Abba and Sinead O'Connor, before Badness drops thick ragga-grime over electro and Ghetto brings fiery, nervous energy.

Skepta updates So Solid's 21 Seconds while Lee Brasco's Bow, a spoken-word tour of grime's birthplace, stands out amid the frenzy.

The variety of voices (30-plus MCs) and instrumentals (dubstep, Suzanne Vega, soca-grime) is staggering and it is expertly stitched together by Magic in a twisting and turning 70-minute journey. The inlay gathers photo portraits of leading MCs, making this an excellent, collectible package.

Frisco's Back 2 Da Lab Vol III (Boy Better Know) shows the hard work and commitment required to be taken seriously in contemporary grime – this is his third mixtape before forthcoming debut LP Fully Grown. Big Fris is part of the Boy Better Know label camp and takes pride in being a 'lyrical architect': his raspy flow rides different tempos and instrumentals with aplomb.

And it's this adaptability – apparent whether he's unleashing devastating punchlines or offering mature analysis on the Time Is Right remix (featuring Bashy, JME and Black The Ripper, produced by Wiley) – that suggests Frisco is a Fully Grown artist.