Puja Patel listens to a lot of music. The volume has gotten so overwhelming since she was named editor in chief of Pitchfork, she’s had to create a system to manage it all. “I’ve decided to keep my new vinyl purchases to things that I know I’ll keep for the rest of my life,” Ms. Patel said. She puts unreleased albums into a folder on iTunes and streams everything else on Spotify. She also acquired an old iPod Touch to use solely for work, but that turned out to be fruitless when she learned it wasn’t compatible with the latest MacBook.

Pitchfork, with its authoritatively decimalized album ranking system, is one of the most influential music publications in the United States. A favorable rating has the power to propel a below-the-radar artist into the mainstream, while a negative one can sink a well-known performer’s latest effort. “As someone who was obsessively reading the site in college, to imagine running it one day was absurd,” Ms. Patel, 33, said. “And now that I’m here, it feels extremely powerful and correct.”

A child of immigrants — her father was from Zimbabwe and her mother is from India — Ms. Patel worked for a number of outlets, including Fader, The Village Voice and MTV, before joining Pitchfork. “My specialty was really showing that music was about community,” she said. “And how music is an immediate reflection of the tensions of a city, whether that be political or social, or even the way that tech was changing and inducing the way a genre moved.” In 2016, she was named editor in chief of Spin — becoming one of the few women to lead a large music publication — and she reveled in the opportunity to push its boundaries.

Pitchfork was founded in 1996 and acquired by Condé Nast in 2015. The Pitchfork Review, the site’s quarterly magazine, was shut down two years later, and last September Condé Nast asked Ms. Patel to take over from Ryan Schreiber, Pitchfork’s founder and longtime editor. We spoke in March, as she was producing the publication’s first “digital cover.”