At the intersection of alt-country and film noir stands Kira Lynn Cain, whose lavish, shadowy music conjures up all kinds of fanciful comparisons (Mazzy Star meets Ennio Morricone! Julee Cruise meets Calexico!) that describe the outlines of her sound, but not the essence of it. She intended to become a painter before pursuing music, and her vivid imagery gives songs like “White as a Dove” a surreal intensity — which makes sense, since the works of filmmakers such as Luis Buñuel and Maya Deren and writers like Andre Breton made a strong impact on her as a student at the San Francisco Art Institute. Cain learned to write songs by singing her own words over Hank Williams’ chords, giving her music a dreamy déjà vu that remains in “All the Mirrors of the World.” There’s also an innocence and elegance to Cain’s music that feels channeled from the vocal pop of the ’40s, ’50s and ’60s that was the soundtrack to her childhood.

This kind of music is often called “filmic,” and Cain doesn’t shy away from that vibe, given her David Lynch-ian website and the artwork to her upcoming debut album The Ideal Hunter, which suggests a vintage movie poster. The Ideal Hunter isn’t out until May, but Cain’s music is so spellbinding that it needs to be heard now. Check out her MySpace page for songs and California tour dates.