At the core of Martha Wainwright’s identity there exists a conflict between the scabrous and nakedly honest confessional singer-songwriter and a mercurial musical translator, plucking various influences and sources and remolding them into something almost unrecognizable. The latter produces work like her soundtrack to the French Canadian TV series Trauma or the collection of lullabies she produced with her sister. The former is responsible for tracks like the furiously candid “Bloody Motherfucking Asshole”. With Goodnight City, Wainwright tries to walk hand in hand with these two, distinct, personas, rotating the spotlight between them and showcasing the breadth and scope of…