Finding the Right Dispensary for Your Needs

A common mistake people commit when buying medical marijuana is entering any marijuana dispensary that pops up in front of them thinking any of them will do, because let’s be honest, there aren’t many advertisements out there showing you where can you buy perfect cannabis.

Purchasing medical marijuana is not as hard as it seems. However, this doesn’t mean that you’re supposed to treat it like it’s as simple as just simply purchasing it anywhere. Before actually going into a marijuana dispensary, you need to make sure you’ll receive an appropriate treatment while making sure that you’re also buying good-quality marijuana.

But, how can you do that? Whenever finding a marijuana dispensary there are a few things you’ll have to pay attention to.

The average price of marijuana in your state

Everyone knows how capitalism works. You can go into a store and purchase a t-shirt for $30 dollars and sometimes you walk into a different store and find the same t-shirt for $15 dollars. Of course, this is not different from marijuana.

Before entering a medical marijuana dispensary, look for the average prices of marijuana in your state. You don’t want to get out of a dispensary paying twice as more than you needed.

Look for good-quality products

There’s a wide range of marijuana products out there available to treat different conditions. If available, check in the dispensary website which type of products they have available at their store, or you may go there and come back empty-handed.

Go for the nearest, but well-evaluated dispensaries

If you can afford to go to another city each time you need to purchase medical cannabis, well, that’s good. However, many people have neither the time nor the money to travel each time they need to buy marijuana.

So, whenever choosing a marijuana dispensary try to find the nearest dispensaries to your location. But remember to opt for the one with the highest ratings. You don’t want to be treated poorly when buying your weed.

Now that you know what you’re supposed to look for when finding a good marijuana dispensary for your needs, it is time to tell you how we can help you with that.

Veriheal has a digital platform created to help U.S. residents to get access to medical marijuana and as a part of that, we’ve created a tool called Finding Dispensaries which locates the best marijuana dispensaries near you. Head over to following link if you are trying to find how to get a medical marijuana card in new york.

How can you do that? The process is very simple, and it won’t take longer than three minutes. You only need to enter our page and either authorize the website to access your location or you can type the location where you want to find a medical marijuana dispensary. It can be a state, a city or a neighborhood.

Once you do that, dispensaries near you will be displayed on the page along with the address and the name of the dispensary. Alongside, there’s the location of the marijuana dispensaries in the map.

If you click in a marijuana dispensary, more information about the company will available there, such as its contact number, email, website, and the time it opens and closes.

And for the record, all marijuana dispensaries found in our website are authorized to operate in the state they’re located. Not to mention that their staff is trained to treat their customers with the best treatment you can ever get. So don’t worry about entering a marijuana dispensary full of an unpolite staff that doesn’t treat you respectfully and discreetly.

Now, with all that information you’ve been given, you’ll be able to choose the best marijuana dispensary for your needs.…

The Next Evolution of Post-Hardcore: 5 Bands to Watch

A funny thing happened on the way to the Pitchfork reviews section last week, and it was a not-so-entirely-unwelcome-yet-somewhat-surprising premiere of the first single off Pennsylvanian progressive hardcore makers Balance and Composure’s forthcoming sophomore effort The Things We Think We’re Missing.

Whether the review was glowing or dismissive is up to debate, but regardless, it’s a refreshing sea change in everyone’s favorite critical punching bag’s mindset to see their writers give bands on punk labels like No Sleep well-deserved widespread attention outside the realms of your usual PunkNews, AbsolutePunk and Alternative Press coverage (or waiting for them to sign onto an “acceptable” big indie like Matador.)

AwkwardSound has always waved its post-hardcore flag proudly, having championed like-minded acts such as Ceremony, Defeater, Joyce Manor, La Dispute, Loma Prieta, Touché Amoré, Title Fight and Pianos Become the Teeth since the site’s start, but it can’t help but predict that we’ll soon be seeing many of these names (and more) evolve past genre lines and find success outside the circle pit. Here’s five to keep your eye on in the headlines…

Balance and Composure

Balance and Composure were bred in the ‘burbs of Pennsylvania much like their local scene friends Title Fight and Daylight (see below,) and have that rare ability to connect their brand of post-hardcore with a few different shades of sound.

Their debut album Separation was released in 2011, and showcased the Doylestown quintet’s ability to channel into both a loud, emotive side reminiscent of the early Aughties Long Island scene, as well as hook-heavy melodies perfected further down the Atlantic in Jersey.

Their sophomore effort The Things We Think We’re Missing (due out September 10th via No Sleep) may be a cohesive turning point for Balance and Composure, as they’ve enlisted Will Yip (Title Fight’s Floral Green) to pull all of these elements together, which on first listen “Reflection” buries their emotions in a nu-gazing wall of sound with big time results.

They’ll be supporting the release by heading out on the road opening for Title Fight during their upcoming autumn tour.


Balance and Composure’s neighbors Daylight are a heavy-hearted beauty in the realm of Pennsylvania’s post-hardcore scene.

Coming together in 2008 and experimenting with several different lineups before solidifying their sound in 2012, the Doylestown foursome plays melodic punk-addled music as envisioned through the filter of alternative rock’s grungy past. Earlier this year, Daylight released yet another product of Will Yip’s mastery in their debut album Jar on Boston-based punk staple Run for Cover Records.

It’s a collection of despondent listens that effortlessly bridges the roads separating your Quicksand and Dinosaur Jr. catalogs through metallic waves of distortion and hook-sinking choruses.


Hailing from our Stateside neighbors up north, that footnote alone should provide you with some idea as to what you can expect to hear from Toronto’s Greys given that their Canadian counterparts METZ and Death from Above 1979 have been two of country’s most eardrum-decimating exports in recent years.

Since forming in 2011, the rising quartet has steadily released a series of EPs, most recently with arguably their heaviest and most relentless offering of guitar-based piledrivers in the three-track Drift (via Kind Of Like Records,) drawing up the obvious comparisons to ’90s genre stalwarts Drive Like Jehu and the Jesus Lizard, but propelling themselves away from the pack as well through a lo-def, high velocity approach that should make it difficult for anyone else to keep pace with them in the future at this rate.


The midwest’s version of post-hardcore has always been a more mathematical statement, and Indiana-based quartet Native are doing their all to uphold that gold standard while inserting some of their own brain-teasing trajectories into the equation as well.

In 2010, they released their breakthrough debut Wrestling Moves, which signaled the rumblings of a return to knotted time signatures, bombastic riff plows and frontman Bobby Markos’ elastic vocal freak-outs that redeemed the influence of the Blood Brothers and At the Drive-In nearly a decade earlier.

After relentless touring, including opening for the likes of Thursday during their final bow back in 2011, Native will release their sophomore follow-up Orthodox on Sargent House, with first listen “Kissing Bridge” marking a shift toward heavy-weighted breakdowns without abandoning their knack for unpredictable noise calculations.


From the Bay Area down to Los Angeles, California’s decades-steep history with all things punk and hardcore is consistently a hotbed for bands like Seahaven, the Torrance quartet who’ve begun their ascent from the same basements as their incredibly popular peers Joyce Manor.

Unlike most bands on this list who focus on the physically thrashing side of the genre, Seahaven unabashedly push their melodic weight around its loftier corners as vocalist Kyle Soto keeps you guessing as to where they’re heading on each track with a vocal range that fluctuates somewhere between pretty and ugly.

2011’s debut Winter Forever (out now on Run for Cover Records) pust Seahaven in good company with the diverse likes of past tour mates Pianos Become the Teeth and Touché Amoré.…

Song Review: Atlas Sound’s “Terra Incognita”

Bradford Cox

Deerhunter frontman Bradford Cox originally debuted his side-piece, Atlas Sound, as an outlet for his experimental bedroom pop inhibitions.

Originally putting the focus on swirling guitars, dreamy, distorted textures and little to no vocals on his part, Atlas Sound’s soundscape has evolved over the course of its releases into a mixed bag of styles while Cox himself has begun making himself more visible with each passing work (See: 2009’s Logos.)

It’s this which makes it unsurprising to hear Cox could now very well be using the project to shine a spotlight on his solo songwriting strengths (A recent live performance at All Tomorrow’s Parties and the album’s artwork featuring a photo shot by Mick Rock up above is further evidence of that.)

Terra Incognita

“Terra Incognita” is the first track to be shared off Atlas Sound’s upcoming third LP, Parallax. It’s a soft, slow-moving acoustic number, and based on the way Bradford enunciates the words “holy ghost” and “host,” it wouldn’t be so crazy to assume Mr. Cox has been indulging in the latest effort by former Deerhunter tourmate, Kurt Vile.

In signature Atlas Sound fashion, though, “Terra Incognita” takes an airy, atmospheric turn at the 3:50 mark when Cox’s voice comes apart to form a cloud of backing vocals bouncing off the soundboard from all directions as his acoustic guitar is swallowed into a hazy blackhole. With so many of Cox’s friends and influences in the indie rock community putting emphasis on stripped down songwriting in light of noisier pasts this year, “Terra Incognita” makes for a soothing progression for the Athens-based musician and an intriguing precursor of what Bradford Cox sounds like when he’s got both feet planted on the ground.…

Hear New Sound: Charlotte Gainsbourg’s “Terrible Angels” / “White Telephone”

Charlotte Gainsbourg

French thespian and soft-voiced chanteuse Charlotte Gainsbourg caught many off guard last year when she released her serene third LP, IRM.

With the help of alt-rocker-turned-producer-extraordinaire, Beck, Gainsbourg proved herself to be the daughter of a genius artist with songs that teetered a delicate glowing beauty and dark murkiness (“Heaven Can Wait” for instance made its way onto AwkwardSound’s 25 Best Songs of 2010.)

The renaissance woman won’t be taking as much of a break between her next release as she did the last time, as Gainsbourg will be releasing a new EP titled Terrible Angels on September 6th alongside Stage Whisper, a double album of unreleased tracks and live recordings due out November 8th.

Below you can hear “Terrible Angels,” another song written and produced by Beck that gives Charlotte an upbeat electro-pop makeover. From the latter, “White Telephone” sounds like an outtake that could have easily found itself in good company with the rest of IRM. It’s your call……

Album Review: Kurt Vile’s Smoke Ring for My Halo

Bob Dylan

Before we begin, let’s get one minor detail out of the way: Bob Dylan — Kind of an overrated bore, right? Now that’s been said, cassette culture hero and Philadelphia all-star, Kurt Vile, is once again working with elite indie label, Matador Records, to release what could be seen as his most cohesive album to date, Smoke Ring for My Halo.

In past releases, Vile has displayed an admirable versatility as a songwriter, switching it up between lo-fi folky acoustic numbers and crunchy, stoned out noise jams.

Disappointingly on this, his fourth LP, Vile reaches more toward the former minus the low-end production value but with lyrics sung in such a way that it can only laud him with the honor of being dubbed “the next Dylan.”

Late last year when the album’s first single, “In My Time,” was released, it was quite evident Vile would be putting the lo-fi schtick to rest while under Matador’s dime, but the track’s mellowly fleshed out style made up for the loss of noise.

A lead single can easily misrepresent the album as a whole, and that’s slightly the case here on Smoke Ring for My Halo.

There are instances where going for a chilled out sound can be advantageous (ex. Ducktails’ Arcade Dynamics,) but there are others where it sounds like the musician was too chronically stoned during the songwriting process to notice he may be putting his listeners to sleep.

“Baby’s Arms,” “On Tour,” “Peeping Tomboy,” and the sprawling six-minute-plus dozer, “Ghost Town,” are all evidence of that. While that may only be half the album, the other half doesn’t really get any more exciting other than delivering along the same wavelength as “In My Time” with “Jesus Fever” and “Society Is My Friend”, or the Tom Petty-esque “Puppet to the Man.”

Runner Ups

There’s nothing close to a foot-stomping rocker like “Freeway” off of 2008’s Constant Hitmaker while a subdued melodic song such as “Runner Ups” can’t hold a candle to Vile’s most intricately laced and beautiful work (“Blackberry Song” off of 2009’s Childish Prodigy.)

The biggest shortfall here for Kurt Vile, though, has to be his vocal delivery. Where as it seemed before he was a new age kindred spirit of Bob Dylan, Vile comes off sounding like he wants to be Bob Dylan.

The audacity is respectable, but there are millions of Dylan wannabes out there in the music world as it is, so why not continue blazing your own trail?

Despite these missteps, you have to at least give Vile credit for his attempt to refurbish his sound, and the fact that his lyricist skills and ability to make an acoustic guitar sing for him are well in tact.

In the end, it sounds like Kurt Vile gave up a lot of his identity and took up someone else’s to justify this transition. Smoke Ring for My Halo is the best Bob Dylan album to be released in 2011, and that couldn’t be any more boring.…

Song Review: The Dodos’ “Don’t Stop”

The Dodos

Over the course of their young musical careers, San Francisco’s The Dodos have been searching for a sound to call their very own.

The noise folk duo drew obvious comparisons to Feels and Strawberry Jam-era Animal Collective on their debut, Visiter, while their second effort,Time to Die, was a necessary transitional album which helped distance themselves from being labeled an AnCo cliché. Now on the cusp of releasing their third LP, The Dodos are finally owning it.

“Don’t Stop” is the latest track off No Color, and it’s easy to hear why Neko Case (who appears elsewhere on the new album) called it her favorite track. Unlike their previous work, The Dodos use their signature sound of quickly plucked acoustic guitar strings, shifting time signatures and speedy percussion as the underlying frame for this song instead of bearing it all on the surface.

The distorted layers of electronics sparring their way around Meric Long‘s acoustics give “Don’t Stop” a complexity that in turn finally gives The Dodos an identity. As the song’s building momentum cracks open at the 2:24 mark and sails Long and Logan Kroeber’s harmonies into the distance, you can’t help but get this great feeling your ear drums just witnessed The Dodo’s finest moment of enlightenment.…