Myth, Sunday 6.24

Korn have recently left behind the tired aggression of nu-metal in favor of a modern shift to a more bass-heavy, dubstep sound, which frontman Jonathan Davis is calling "future-metal." For their 10th studio album, The Path of Totality, the Bakersfield, California, quartet enlisted the help of celebrated dubstep pioneers Skrillex, Datsik, Excision, Downlink, and others to help take the band's sound in a new, inventive direction. There still is plenty of testosterone-laden hostility within Korn's music, but it's layered within the dramatic, textured bass drops that feature so prominently in dubstep. Whether their old fans follow the band in this new direction remains to be seen, but Korn have built a nearly 20-year career out of openly flouting the stylistic conventions of modern music, and they don't show any signs of stopping now. With Sluggo and J Devil. 18+, $36.50, 7:30 p.m. 3090 Southlawn Drive, Maplewood; 651.779.6984. —Erik Thompson


Cedar Cultural center, Monday 6.25

Till Bass Drum of Death do us part
Marjolein Hoornaert
Till Bass Drum of Death do us part

Easily among the most compellingly eccentric wordsmiths operating in indie rock, Vancouver's Dan Bejar has trafficked in surreal imagery and oddball narratives for nearly 20 years under the nom de plume Destroyer and as a scene-stealing guest star in the New Pornographers. During that time he's shifted musical styles repeatedly, molting from one release to the next. It's easy to envision a fan of 2006's glam-rock masterpiece Rubies loathing last year's excellent '80s soft-rock pastiche Kaputt, and vice versa. For true Bejar superfans the constant genre-hopping is central to the man's appeal. Tonight marks the final date of a second national tour in support of Kaputt, with Destroyer returning to the Cedar sporting an eight-piece band and Bejar favoring set lists that span multiple phases of Destroyer's oeuvre. With Sandro Perri. All ages, 7 p.m., $15-$18, 416 Cedar Ave., Minneapolis; 612.338.2674. —Rob Van Alstyne

Howard Jones

Varsity Theater, Tuesday 6.26

A definitive voice of early-'80s radio and a legacy figure for overall synth pop, Howard Jones is noted for aligning British-flavored New Wave with emerging technologies in music. His two major hits — "No One Is to Blame" and "Things Can Only Get Better" — were shining examples of his ability to appeal to both the pop crowd and the growing cultural underground of the decade. Since the '90s, Jones has embraced his cultlike status with music aficionados, and you can expect many of these types at the Varsity show, as well as exemplary use of studio gear to to create, on the fly, his nostalgic sound. Jones's more recent material sees him still playing in the shrinking synth-pop arena, and while those compositions are certainly well done, everyone will be waiting for the hits tonight. With DJ Jake Rudh. 18+, $30-$35, 7 p.m. 1308 Fourth St. SE, Minneapolis; 612.604.0222. —Jen Boyles

Les Nubians

Dakota Bar & GRill, Tuesday 6.26 + Wednesday 6.27

When they first surfaced in the late '90s, Les Nubians were something of a sensation, emerging with a neo-soul sound that combined Europop, African roots and pop, hip hop, jazz, and R&B. Sisters Hélène and Célia Faussart had a French father and Cameroonian mother, and split their childhoods between the Bordeaux region of France and Chad. By the time the duo released their third album, Nü Revolution (Shanachie), last year, they had achieved a new level of musical sophistication married with adventurous exploration. After kicking off the album with an African percussion workout, the Faussarts, singing in French and English, launch into the sleek "Liberté." An incendiary version of Manu Dibango's classic "Soul Makossa" juxtaposes the sisters' rhythmically charged vocals with Dibango himself adding vocal snipes and funky saxophone. "Afrodance" sounds like a sly and gritty cousin of Lipps, Inc.'s "Funkytown," while "Femme Polyandre" is a dose of sensuous trip-hop. $45. 7 p.m. 1010 Nicollet Mall, Minneapolis; 612.332.5299. —Rick Mason

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