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What happens NAO?

As you probably know, the mandatory annual negotiations (NAO) is a series of negotiation meetings to be held every year. Wage increases taking place in March at T-Systems, these meetings are usually held between December and March. We are in May and these meetings have not yet begun.

What do we talk about during these negotiations?

wages: it is not just salary but all the elements of remuneration that must be addressed at this meeting. Which included of course, shares variables, various bonuses, overtime, penalty payments, etc. ...
Compensation: all refunds of fees, meal vouchers, per diem, hotel packages, transportation, etc. ...
working conditions: the schedules and the organization of work, leave, professional equality, etc. ...

How should this normally occur?

The negotiations should normally include several meetings. Management must, first, we provide documentation so that organizations union can analyze the situation of employees in the company, on the other hand, trade unions and management must negotiate.

Some disturbing drifts:

First, in recent years, it is good that provide direction to the process, trade unions, the amount of the total available to it, and that they make of claims that fall within that budget.

Then it became customary for the trade unions provide in writing to management their demands (requests for some) and that it "picks" which it seems acceptable, and imposes the rest.

This is not what we call the negotiations.
For us, negotiating is not to provide management with a method of sharing the crumbs that she is willing to let employees and let them choose in this catalog. For us, negotiating is to have each of the proposals and try to find, through discussion and argument, a common ground.

Pending actual negotiation meetings, management provided us with the necessary analytical documents, we still wrote our claim (irrespective of a possible budget management). Find

our analysis of data provided and our claims in the "Downloads"

Contribution Of Royalty

The riddle Will Oldham


There are emotions and the people who put them into music. Will Oldham is in my opinion, one of the leading artists of the last fifteen years. Of course, it has not been a resounding commercial success, but this does not prevent him from releasing an album a year (on average) and benefit from a major recognition of the important players in the music industry. I was curious to see his live show opening for Bjork and the public reaction ...

Whether under his name, pseudonym of Bonnie Prince Billy or within the Palace Brothers, Palace Music, Oldham has this particularly fragile voice and singing style unmistakable. And beyond the style there are the texts. This is probably what distinguishes el over all the other songwriters in its category (a category which would include that? Vic Chesnutt? Smog? ... Suggestions?). It is especially under Bonnie Prince Billy I was seduced by Will Oldham. Some themes are major themes in music, especially those involving human relationships, love, friendship and loneliness are inexhaustible sources of inspiration for those who know how to draw. Especially since I am constantly questioned about the kind of life these people must lead, at least where the thoughts that live everyday ...

I entered automatically into the world of Bonnie Prince Billy through the door of the fabulous "Master and Everyone" (2003). At that time (2003), I'm heartache and struggle with spiritual considerations. Was until you know Leonard Cohen. But still, it was a rare occasion where someone put my emotions into music that way and I could not appreciate its depth. How many times have I felt this surge of emotion in my throat in my eyes listening to "Hard Life" and "The Way". This disc has also proved a success interesting (for a disk stripped of this kind). But I hung on a criticism made by Ian Penman in the pages of the Wire, who did not share the enthusiasm of everyone on this disc, preferring an earlier disc, "I See a Darkness" (1999). He also blamed the "beard conceptual "on the album cover, seen more by the author as existing for aesthetic consideration rather than as a simple beard ... When I finally listened to "I See a Darkness" and I understood why I gave him reason.



This album struck me as significantly above the level of songs, lyrics and arrangements. There are real pearls and this in abundance. I speak here of the title track, "Black" and, especially, but especially, "Death to Everyone". We can cry genius talking about this song, Oldham venturing an avenue oh so slippery but well done by wishing the death of all. Moreover, the themes are more varied and are not all about relationships.



Subsequently, his collaboration with Matt Sweeny on "Superwolf" (2005) was equally cryptic. Sutout in the lyrics, where Oldham surprises us playing both male and female characters in the same song writing in first person (which sometimes leads to confusion). I think that emotions are best worn by those songs are those that are contradictory; love - hate, desire and rejection, including incongruous allusions to sexuality ... A disc so powerful and intimate it is quite disturbing.




Strangely, the book is included in the kit "Superwolf" a short story by American author Paul Bowles , on the distinction between alcohol and cannabis and its uses in Muslim Societies (hashish) and western (alcoholic), and their psychological impact on people. Interesting text which nevertheless blurs the coherence of the musical work. The logic of its inclusion does surely as by a thread, which is located in the head of its creator, but one that escapes the questions.


discs latest Bonnie Prince Billy "Beware" (2009), "The Letting Go" (2006), "Lie Down in the Light" (2008), among others, I do not appear as bright as their predecessors. Leaving me with the impression that Oldham is trying to make his way more accessible. Note that I here is not between light to dark.



In "Survival of the Fireflies" by Georges Didi-Huberman , it analyzes some writings of the Italian writer and filmmaker Pier Paolo Pasolini . He speaks of these men fireflies seeking their way through the darkness by following the "shifting gleams of desire" in love and friendship. In his many records, Oldham manages to be humane and it is this same humanity that seeks to make us sign in the night, reminding us that we are alive, looking for love and others ....

And if I rehash all of this is that naturally, the emotions came back, love and sadness, taking with them their own set of contradictory thoughts and actions and I need someone who can still express them for me.

To give me the feeling of escape from this deception.

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Ashtray Navigations: "Four Raga Moods (Ikuisuus, 2006)


Following a listening and inspirational glowing review of one of the most recent releases of Ashtray Navigations, I had to rediscover the abundant music catalog of Phil Todd, the man behind these explorations of the ashtray.

"Four Raga Moods" had escaped my radar and reading the descriptions of this album, I'm convinced it was all for me, especially since the title predestined me. One may doubt the type of waves which navigates Todd, a misty sea, the smell of sulfur, in which there are volcanic vents threatening to explode at any moment. But it is also a sea chemical, like the fountains found in the bric-a-brac Chinese, those in contact with air will produce a sort of smoke gas, gas innocuous but they say nobody would take the chance to breathe. For cons, the smoke of Ashtray Navigations are not innocuous.

On this record, Phil Todd uses some guests: Ben Reynolds, Pete Nolan (GHQ), Chris Hladowski, Alex Neilson (Trembling Bells Directing Hand ...), Andy Jarvis, Matt Cairns and Melanie Delaney. Phil Todd is enrolled in the experimental scene in Glasgow and is probably one of the artists from the scene of the most ignored but overall the most interesting. The four component parts of this "Four Raga Moods" are highly intoxicating and lead us into a surreal world. Careful listening, are doomed to complete lead us in another place and that capacity is reflected in the different outputs of Phil Todd, which, in my opinion, great music.

Despite the presence of distinguished guests, it is the solo piece by Todd "Hey Sunflower Motherfucker, "which comes off the lot. A carpet of noise, drone, covered with a vaguely oriental guitar, followed by an apex of drums and distorted sounds makes this piece the piece of resistance of this disc. Also note "The Pete Nolan Effect", which lasts over 30 minutes and is a sublime piece of transcendental noise, casios cheap guitars, moog, and a plethora of instruments that contribute to a sublime sonic magma. It's a simple formula, taken a bit throughout the disc, but very effective. It has the right balance between noise, and psychedelic melodies, lo-fi aesthetics lean toward making more noise. A contemplative music, résolument modern.