Echo Park Rising always feels like a nonstop dream about walking through a series of interconnected shops, clubs, bars and restaurants, with each new passageway and hideaway revealing a previously undiscovered musical treasure. Here are our handpicked highlights …

Veronica Bianqui

“So take another shot and dance until the break of day/In these parts, we wouldn’t have it any other way,” Veronica Bianqui urges on her 2018 single “Sunday Cups.” Co-produced by Bianqui and The Blank Tapes’ Matt Adams and recorded by Mark Rains at a studio in Echo Park, the song is unusual even by the local vocalist’s standards, with a loping, strangely funky percussive groove underlying her urgent, endearing vocal pleas, which are crowned at the end with a poignant punk-jazz sax solo. Like Echo Park Rising itself, Bianqui’s lyrical exhortations evoke the pre-gentrification spirit of the neighborhood, when you could hear multiple bands playing while walking down just one block in Echo Park or Silver Lake. Bianqui has demonstrated her talent for writing catchy original songs that evoke ’60s girl-group melodrama (“If Love’s a Gun, I’m Better Off Dead”), but the twist is that she also writes pointed, defiant lyrics (“I’ve always been a crazy singer/Said, ‘fuck suburbia, I want some danger’”). She’s an early highlight on the Dangerbird Records and Baby Robot Media showcase in the Champagne Room at Taix, followed by sets from Milly, Total Heat, Kate Clover, Juiceboxxx and fervently rollicking headliners The Eagle Rock Gospel Singers. Friday, 7 p.m., Taix French Restaurant. [FJ]

Miss Jupiter

If Spacedust were a nightclub, it would be one of this city’s most exciting underground-music venues. Every year, the small, Bowie-centric fashion-art-curios-clothes boutique hosts some of the most unusual and promising local bands as part of Echo Park Rising, and this time around booker Gabbi Green has selected another fascinating four-day lineup of musicians and DJs, whose sounds tend to lead seamlessly into the next performer’s set. At the center of this year’s lineup is Miss Jupiter, fronted by vocalist Michelle Rose, the Spacedust proprietor who also designs her own intergalactic-themed clothing. In the past year, the band have expanded on their psychedelic beginnings with a heavier glitter-rock sound and a more fluid and powerful lineup that takes Rose’s starry-eyed idealism and mystical lyrics to another level. At Miss Jupiter’s most recent show, the ever-glamorous Rose stalked the stage on spiky, silvery heels that looked like beautiful daggers — an apt metaphor for the group’s musical style and approach. Friday, 7:30 p.m., Spacedust. [FJ]

Spare Parts for Broken Hearts

While Spare Parts for Broken Hearts is undeniably a band in the truest sense, it’s tough to get past the fact that Sarah Green is one of the most powerful vocalists and raucously charismatic frontpeople in L.A. right now. That their debut EP is unavailable right now speaks volumes about their growing popularity, as each single highlights their gift for blending ‘90s alt-rock with contemporary post-punk. Don’t miss. Friday, 10:05 p.m., American Barbershop. [BC]

Honey Child

Honey Child are a coven of women singers who blend their angelic voices most enchantingly to create a modern twist on chamber pop. Led by operatic chanteuse Claire McKeown, Honey Child also feature Claire Boutelle, Aimee Jacobs, Danielle Mandel, Dayna Richards, Jacquelyn Sky and Cynthia Zitter, who braid their gossamer harmonies together on such glassy, ethereal hymns as “Sleepy Hands.” At Echo Park Rising, they’ll raise the roof with their original chansons on Saturday at 5:20 p.m. at Trencher, a small café at 1305 Portia Street, just off Sunset Boulevard. Later that same evening, at 7:30 p.m., they’ll transform themselves into Honey Child’s Lonely Hearts Club Band to chime a set of Beatles covers under the open sky at Echo Park Lake, followed by a screening of A Hard Day’s Night, presented by Echo Park Film Series. “Feeling like a nutcase for doing two different sets,” McKeown tells the Weekly. “The second at Echo Park Lake … will be all Beatles songs that I have arranged for our sound. It is going to be wondrous! Lots of flute, flugelhorn and piccolo-trumpet solos all on top of our guitar, harmonium and light-percussion instrumentation and, of course, three-part and, at times, four-part harmony.” Saturday, 5:20 p.m., Trencher. Also on Saturday, 7:30 p.m., Echo Park Lake. [FJ]

Lucy Arnell

The smaller-than-a-living-room side room at Sticky Rice is so intimate that performances there during Echo Park Rising are usually conducted by solo singer-songwriters. This year, the Thai restaurant also presents an outdoor patio stage big enough for the larger sounds of rampaging hard-glam punk rockers Prima Donna and darkly atmospheric shoegaze explorers Brass Box, while jazz-pop vocalist Kathleen Grace, pop singer Cassandra Violet, and the intriguing duo of Entrance Band’s Guy Blakeslee and local singer Lael Neale intone their subtler sounds inside on Saturday. Don’t miss Lucy Arnell, whose 2018 album, Anyways Any, swings low over a wide landscape that encompasses wistful grunge pop (“Do It Again”), self-referential Pixies-style anthems (“SMS”), sweetly strange balladry (“Instamatic You”) and fuzz-shrouded punk dreaminess (“Economy Kid”). Saturday, 7:20 p.m., Sticky Rice. [FJ]

Egrets on Ergot

If you’re a regular attendee at punk shows in and around Los Angeles, you’ve likely already seen this band, among the hardest-working in the city, as they feature in a lot of bills. It’s the gloriously uncomfortable dual vocals that will get ya — Atom and Crow Jane co-snarling through a post-apocalyptic, post-punk dream. Expect more of the same here. Saturday, 8:15-8:45, Spaceland. [BC]

Ravens Moreland

Bruce Moreland is best known around L.A. for playing in the Weirdos, helping form Wall of Voodoo, and MC-ing at the Masque. He’s a name in punk circles and Ravens Moreland is the band he formed in 1990, and to date they have six albums available. All of them see the band blend sleazy industrial a la Thrill Kill Kult (Linda LeSabre of that band is a member) with driving punk rock. Sunday, 3 p.m., The Echo. [BC]

Radwaste

Upon initial listen, Radwaste’s debut album, End Times Mixtape, which was released earlier this year, fits right in with recent brave, new and otherworldly releases by Traps PS and Flat Worms. All three bands combine post-punk influences with intellectually minded art-rock, often propelled by a compulsive funkiness. The fact that Radwaste recorded End Times Mixtape in 1988 — at the height of the hair-metal era, when genuine art-rock was rarely heard in local clubs — makes the L.A. collective’s prescience and persistence even more impressive. Militant slices of punk-funk such as “In the Service of Love” evoke the seismic shifts of Gang of Four, and the foreboding, building momentum and apocalyptic sheets of raining guitar of “War of the Roses” are akin to Mission of Burma’s anti-rock experimentation. With guitar, bass and four (!) drummers, Radwaste hammer out propulsive, percussive workouts and condensed melodic-punk bursts like “WarZone,” which alternate with more introspective idylls such as “New Master.” Members of Radwaste had a lot to do with inventing hardcore and post-punk in the late 1970s and early 1980s with such groups as Urinals and 17 Pygmies, and their forward-looking music still sounds startlingly new today. Sunday, 3:45 p.m., the Echo. [FJ]

Hammered Satin

In the UK, bands such as Slade, Sweet and T-Rex were referred to as “glam,” but that term is avoided a little more in L.A. because it could lead to confusion with the ‘80s Sunset Strip hair metal scene. So bands in that vein prefer to use the term “glitter.” Hammered Satin is one such group — heavily influenced by the boot-stomping joy of the aforementioned bands as well as the Bay City Rollers and Mott the Hoople. So much to love. Sunday, 3:30 p.m., The Echoplex. [BC]

Boy Howdy: The Story of Creem Magazine 

If you want a glowing endorsement of Creem Magazine, just know that Ted Nugent detested it, and late editor Lester Bangs, with a white hot passion. This is a publication with the guts to put “America’s Only Rock ’n’ Roll Magazine” on the cover, because they truly believed the claim. Director Scott Crawford’s documentary details the history of the paper (which began life in Michigan and later moved to these parts), while looking at the impact that it had on many of today’s musicians. Sunday, 1 p.m., Echoplex. [BC]

For all Echo Park Rising information, go to epr.la.