Think I’m in a place where I need to disrupt my writing habits, not that they’re bad habits, just want to push my self into new territory. Interested to know any ways you have successfully disrupted your process, (which don’t just involve buying new gear 
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Ever had a Robert Johnson deal with the devil moment and come back transformed?
Finding new music to emulate/be inspired by, always helps me break my habits.
I like to get excited about music and feel “Ohhhhhh that’s amazing! I have to try that!” Even if it’s just an exercise, to see if I can do it. And it usually turns out different, and maybe leads to new technical and/or musical insights.
I also enjoy researching electronic music history, and trying to achieve different synthesis techniques, with the equipment I own. Eg. you can do wavefolding on the Digitone by setting carrier frequency to zero.
If your machines are complex enough (I guess most Elektrons are), you could just try a new technique or feature you usually don’t rely on. Something you thought was not for you. Use it in your own way, it could lead you to new territories.
We once made an album where each song was inspired by albums—and these albums were selected using a random number generator. These served as a good point of departure, led us to combine ideas that wouldn’t normally go hand-in-hand, and made us appreciate some albums that we wouldn’t have necessarily have used for inspiration.
Or there’s always the Brian Eno angle
Find someone new to work/collaborate with that isn’t doing what you’ve already done.
In a biography of Robert Johnson that I was listening to some time ago there is an educated guess sort of thing that the ‘devil’ was in fact this dude who was a bit rowdy that Johnson ended up traveling with, and who was a most excellent blues guitar player… So if you go that route then you know what to do. At your own peril 
Get yourself a rowdy teacher who takes you into wild pubs/bars/hangouts but also is a very good at teaching you something new… well 97.5% not serious, but food for thought lol …and Robert Johnson apparently died at the age of 27, so maybe don’t do that too much…
…but on a somewhat more serious note, challenges can be also self-imposed (indeed some swear on limitation feeding creativity) in that… you could pick up a way of music-making that is really tough for you, in that you have barely scratched the surface of composing/performing in that way…? Or simply pick up some instrument, even like super cheap banjo in a drift store (random thought) or what ever would just be tough as nails hard…
Having a partner in crime surly helps and can be a lot of fun, better be prepared to let go of ideas, and spend time learning to get faster output, and decide later what to keep or let go together. I think that process helps to unwind personal attachment to the loop created, its about moving forward.
Even remote trading stems is a fun activity.
Try switching genres like in " I have made techno beats for some time and now I am trying to do something ambient" …
This would kick you out of your comfort zone quite dramatically and may lead to new insights and workflows.
I can tell this worked for me, because I used to play instruments to create melodic and harmonic content for a long time, but when I tried to focus on creating sound textures I had to change many of my habits and to rethink how to put my gear to work.
Imagining new directions and techniques when not using the setup. Daydreaming about new ways of making music.
Trying to pinpoint the things I’m not doing all that much and exploring how those ideas could be made unique/interesting/personal.
When trying to get sleep and while meditating my mind seems to be more active than normally, so I have a small notebook at my nightstand so that I can write the ideas down before I forget them.
Conceptualizing interesting ways of creating a track by asking myself what the idea should and should not include to begin with. For a track to have an identity it must lack some things, to be consciously or otherwise curated in some way, at least in many cases.
Creating a habit of not jumping in immediately after powering up the setup can do wonders.
To just stop to listen to your inner world and acknowledging what it is that you are feeling and letting it guide you.
This has been a huge thing for me lately as I’ve had a tendency to just do something without much of a thought and that really makes the approach monotonous easily.
Muscle memory is a great thing but it doesn’t have to be in charge all the time.
A simple but effective change for me is starting with drums instead of tonal content for example. That doesn’t change the style of music i make but still brings in a fresh vibe sometimes.
This is the best answer.
I do not love industrial or hardcore music, but collaborating someone who is adjacent to that music has transformed the way I (currently) make noise … which is now also industrial / hardcore adjacent depending on our moods, and insanely fun. I would not have gone there without this new inspiration
Yes this is a good one to pinpoint. I tend to find that clubbier tracks start with drums and the less clubby ones start with chords. That’s 2 different projects right there to kick things off.
Try a new: key/tempo/song structure/composition tools (arpegiator/drum machine etc)
Start in a different way (as has already been said) so if you usually start with melodics, try drums etc.
Try working on sound design or organising your drum library etc and when inspiration strikes go from there.
the collaboration angle is one of the most underrated ones. working with someone who doesn’t share your reference points forces you to justify or abandon things you’d normally do on autopilot. it’s uncomfortable in a productive way.
the thing that’s been working for me lately is coming at it from a completely different domain - i’ve been spending time on DSP and plugin stuff on the side, just experimenting and learning, and it’s genuinely changed how i hear and think about music. when you’ve been staring at how a filter actually works at the signal level it’s hard to just blindly reach for the same preset. you start making weirder, more deliberate choices. probably not for everyone but as a habit disruptor it’s been pretty effective.
Giving yourself limits can really make things interesting. I got a lot out of Jamuary this year - having to post something every day made me really feel comfortable experimenting.
Jon Makes Beats on YouTube recently created a sort of gamified version of music making that imposes arbitrary restrictions and requirements based on dice rolls. It was a lot of fun to watch him work within those limits and might be worth looking into. Haven’t had a chance to try it myself yet!
Another useful one: Trade instruments with collaborators. For an acoustic instrument, you’ll be forced to simplify but you’ll get something new thanks to the constraints. It’s less common in the world of solo synthesists, but even switching your Digitone with your friend’s Volca FM will instantly force you to play differently thanks to the interface.